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Date Due 



{) . 

/^ J ' 



U. ^. A, 


NO. 23233 J 


DC 10 



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Cornell Unive 
5.9.N56 1913 

Arc loan exhl 


3 1924 02 

sity Library 

jition catalogue; 


B 178 881 

Cornell University 

The original of this book is in 
the Cornell University Library. 

There are no known copyright restrictions in 
the United States on the use of the text. 


I'rom engraving by N. Le Mire, after painting in Hotel de Ville, Orleans 

Joan of Arc 

Loan ExhiDition 

Paintings, Pictures, Medals, Coins, 

Statuary, Books. Porcelains, 

Manuscripts, Curios, Etc. 

Under the Auspices of 

The Joan or Arc Statue Committee 

(For a Statue oi Joan of Arc in the City of New York) 

The Museum of French Art 
French Institute in the United States 

The American Numismatic Society 

Tke American Numismatic Society Building 

Broad-way, het-w^een 155th and 156th Streets 
New York City 

January 6tn to February 8tn, 1913 

'2. ^\ U 


Joan of Arc Statue Committee 

Tor a Statue m tne City or New York 

J. Saniora Saltus 

Dr. George FreaericK Kunz 

President American Scenic and Historic Preservation Society 


Gabriel Hanotaux 
Pierre Loti 

Membres de TAcademie Frangaise 

J. W. Alexander 
Bauman L. Belden 
Hon. WiUiam A. Clark 
Tnomas Cocnran, Jr. 
Hon. Jonn D. Crimmins 
Mrs. James Stewart Cusnman 
Mrs. Vernon M. Davis 
Proi. Louis Delamarre 
Dr. Frederick Dielman 


Mrs. Tnomas A. Edison 
Dr. Edward Hagaman Hall 
Hon. McDougall Hawkes 
Dr. Cieorge F. ICunz 
Mrs. Charles F. MacLean 
Charles Pryer 
Dr. Louis Livingston Seaman 
Rev. \Villiam J. Stewart 
T. Tileston Wells 

Cliiefly Concerned in Constructing the Collection and Catalogue 

Bauman L. Belden 
Frank \Veitenkampi 

Dr. George F. Kunz 
J. Sanlord Saltus 



Introductory Remarks of the President of the Joan of Arc Statue 
Committee, Dr. George Frederick Kunz 9 

Letter of His Excellency J. J. Jusserand, the French Ambassador. 12 

Address of Vicomte Dejean, Secretary of the French Embassy, for 
His Excellency J. J. Jusserand, the French Ambassador. . . 13 

Address of Hon. C. B. Stover, Commissioner of Parks, New York 
City. ... 24 

Address of Hon. McDougall Hawkes, President of the Museum 
of French Art, French Institute in the United States 28 

Address of Prof. Louis Delamarre, Secretaire de I'AUiance Fran- 
caise des Etats Unis, and Professor of French in the College 
of the City of New York 30 

Address of J. Sanford Saltus, Honorary President of the Joan of 
Arc Statue Committee 33 

Letter of Appreciation of Joan of Arc (written for the Joan of 
Arc Committee) , by Boutet de Monvel 35 

Address of Dr. Edward Hagaman Hall, Secretary of the American 
Scenic and Historic Preservation Society 36 

Address of Dr. George Frederick Kunz, President of the Joan of 

Arc Committee 38 

With chronological table concerning Joan of Arc. 

Catalogue of Engravings, Drawings, Photographs, etc 48 

Stamps, Letters, Miscellaneous Objects 83 

Statuary, Bronze 92 

Medals 94 

Coins 105 

Bibliography, Books and Pamphlets . 106 

But Joan la Pucelle shall be France s Saint 

Words of King Charles VII in Shal^espeare' s King Henry VI 
First Part: Acl I . Scene VI . 

Ceremonies Attending tke Opening 


1 ne Joan or Arc ExniDition 

Under tKe Auspices 

The Joan of Arc Statue Comtnittee 

Tne Museum or Frencn Art 
Frencn Institute in tne United States 

Xne American Numismatic Society 

The American Numismatic Society Building 

New York City 
Monday, January 6th, 1913 




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President of the Joan of Arc Statue Committee. 

Ladies and Gentlemen: Some three years ago several of us 
thought that it would be an excellent idea if" on the five hundredth 
anniversary of Joan of Arc we could proceed with arrangements that 
would lead to the erection of a statue of Joan of Arc in the City of New 
York. We all of us have often heard it said that virtue has its own 
reward, but when a woman has not only virtue, but she has valor, she 
has love for her country and courage to go to war, it is not surprising 
that five hundred and one years after she was born even the City of 
New York, with all its rush and turmoil, should see fit to set aside 
a day for the opening of an exhibition which is to last one month. 

Important affairs of state have prevented the French Ambassador 
from being with us to-day, but he has done us the honor to delegate the 
first Secretary of the French Embassy to deliver an address for him. 
We are also especially fortunate that the author of "The Martyrdom 
of an Empress" contributes a splendid article on "The Pearl of France." 
Then we have a contributor to our exhibition here who will address 
us presently, the Honorable C. B. Stover, the Commissioner of 
Parks of the City of New York. I refer to an exhibit you will find in 
the case, the portrait of a young lion cub that was born last year, and 
which our public-spirited friend, Commissioner Stover, named Joan 
of Arc. About her love of country, we can scarcely venture to speak, 
but we know that she is warlike, because for five days a photographer 
vainly attempted to take her photograph. However, she at last realized 
that she had Commissioner Stover to deal with instead of a Henry 
the Sixth or a Charles the Seventh. 

France is not only the home and origin of much that is best in 
science and literature and the home of Joan of Arc, but it is also 
the home of much of the good and best in modern art. No one has 
done more to recognize this than two of our committee ; one, Senator 
Clark, in buying great works and sending them to this country, and 

our other speaker, the President of the Museum of French Art, 
French Institute in the United States, Honorable McDougall Hawkes. 

We have in this country ninety French alhances, which have been 
grouped into a greater aUiance, and we have with us to-day Professor 
Louis Delamarre, the Secretary of the Federation of French Alhances 
in America, who will favor us with an address on the heroine of 
France. Another speaker to whose words we shall listen, Mr. J. 
Sanford Saltus, our Honorary President, is one of the originators of 
the idea of the statue, and during his recent sojourn of two years in 
Europe he has made a number of studies along this line. 

Our Honorary President, Mr. J. Sanford Saltus, who has sus- 
tained us in so many ways, not only financially, but by visiting so 
many places in Europe, obtaining things for us, and Mr. Belden and 
other members of the Committee have united their efiforts to bring 
together what you see here, and what will remain on view here for 
one month. 

We shall also have the pleasure of hearing Dr. Edward Hagaman 
Hall, Secretary of the American Scenic and Historic Preservation 
Society, whose many and valuable contributions to the early history 
of our city have done so much to foster interest in the preservation 
of our old landmarks. His admiration of the character and achieve- 
ments of the Maid of Orleans make him an earnest worker for the 
success of our project. 

I may add that our committee have what we think is two-thirds 
of the amount of money that will be required : we have $20,000 ; we 
hope to raise $30,000. 

We want to thank those friends of ours who have remembered 
the day and occasion, and who have sent this beautiful floral tribute. 

Our Committee has decided upon several things ; one is that the 
statue must be artistic, and there will be no question as to whether 
the sculptor is American, Russian or Hottentot, nor does the commit- 
tee care whether a man or a woman designs the statue. Upon one 
thing, however, we shall be insistent, that is, that the statue must be 
worthy of one of the greatest personalities that has ever lived, of 
one of the greatest of nations, France, to which it must also be a 
tribute, and to the coming greatest city in the world, New York. We 
have with us in the committee Mr. John W. Alexander and Mr. 
Frederick Dielman, President of the Federation of Fine Arts, and 


After the painting Ly Bartolini 

also our Honorary President, Mr. J. Sanford Saltus, who has given 
particular attention to this matter. 

Before I close, let me say that probably no character is recognized 
by more nations than Joan of Arc. A catalogue has been prepared 
by the committee in which you will find fifty illustrations and which will 
be handed you as you leave the door. Of the exhibition, we hope 
you will have time enough to see something to-day, but it will remain 
open for one month from ten in the morning until six in the evening, 
except on Sundays, when it will be open from ten to five, and Mr. 
Belden of our committee and his assistants will be glad to show 
you attention. 

We thank you for coming to-day. 


Letter of the French Ambassador, stating reasons why the 
date January 6th should be maintained as "Joan of Arc Day." 
For this reason the Joan of Arc Statue Committee adopted 
that day for the opening of the exhibition. 




December i8, 1912. 

Dear Mr. President : 

Answering your kind letter, I beg to state that a bill has been laid 
before our Parliament in view of a day being selected for a yearly 
national fete in honoi'^f Jeanne d'Arc. 

An annual commemoration already takes place at the present time, 
but this is a local one, held at Orleans, to celebrate the deliverance of 
the city on the 8th of May. 

My impression is that if the day of the birth were selected for the 
intended national fete, the 6th of January would be chosen without the 
change in the calendar being taken into account. 

Allow me to add that I am deeply touched by the intention of you 
and your friends to raise a monument to the heroine of the France of 
the past and the France of to-day, the simple, valorous, clear-sighted, 
ready-witted, impassioned girl of Lorraine, who awakened a great 
country from an almost deadly sleep, changed the course of history, 
died as she had lived, a model for men and women of all time, winning 
the admiration of friend and foe alike, and deserving that all think of 
her who never thought of herself, as modest at the head of armies as 
she was pasturing her sheep, and leaving in the brief span of a nine- 
teen years' life a record with which no other can compare. 

Believe me, dear Mr. President, 

Most sincerely yours, 

Dr. G. F. Kunz. 









First Secretary of the French Embassy, Washington, D. C. 

His Excellency, the French Ambassador, unable to leave Washing- 
ton on account of very urgent engagements, could not, to his great 
regret, join you to-day. 

He has entrusted me with the esteemed honor of representing him, 
but he has not given me (unfortunately for you) the power of deliv- 
ering such a charming speech as he would have addressed to you 
under the inspiration of the heroine to whom you propose to erect 
a statue. 

I desire, nevertheless, to tell you, as he would have done it himself, 
the sincere pride of every Frenchman to witness the manifestation 
organized under your initiative. 

Nothing, as a matter of fact, is more flattering for a country than 
to see another country adopt and consecrate its own heroes and erect 
statues to them. Few people have such a fame, such an apotheosis. 
Yet such is the fate of the humble shepherdess of Domremy. The 
history of her life has claimed the admiration of the whole world for 
five centuries and causes to-day in your country the desire of adding 
one more tribute of respect to the numerous homages which she has 
received and is still receiving every day. 

I have not the pretention of speaking here of the mission of Jeanne 
d'Arc and of her part in our history. I would only say to you, that 
I am not surprised to see you so numerously sympathizing with this 
kind creature and touched by the history of this humble girl, who 
stimulating the courage of the men, inspiring captains and soldiers, 
saved her country from one of those terrible crises, from which France 
has always recovered with splendor. 

Patriotism and energy, such were the supreme qualities of Jeanne 
d'Arc ; these are the qualities which you place in the first rank in 
the United States and by which most of your actions are inspired ; 
these two qualities enabled this poor country girl of Lorraine to lead 


her King to be crowned in Rheims. By the same quaUties you were 
victorious at Saratoga and Yorktown. 

But something more has touched you in the history of Jeanne 
d'Arc ; she was a woman, and the purest woman of her time. So much 
courage and energy, united in so charming a being, and put to the 
service of so noble a cause, should surely give a halo of poetry to 
the glory of having made her country free of the invading enemies. 

This is all you love, this is all you want everyone to know and 
to love. Therefore, in the name of His Excellency, the French Am- 
bassador, I want to thank you, ladies and gentlemen, who have had 
this most noble and generous initiative. Your squares and your 
avenues are already adorned with the statues of the great men who 
have conquered and defended the independence of your country ; the 
statue of Jeanne d'Arc will be in the right place in the midst of all 
these, as she showed centuries before their time, the same virtue, th'» 
same bravery, the same devotion. 

Her statue will not only be the image of the Maid of Orleans; 
it will be for all at the same time the symbol nf the love of Fatherland. 



"La Bonne Lorraine" ; ah, sainted, rare 
Selene of the Azure fair ; 
Ah, Shepherdess of Stars like these 
Of France — undying Fleurs-de-Lys 
Of Faith to see, and Soul to dare ; 

The vigils of thy fold and care 
The sworded Seraphim did share, 
Thine eyes outreached the centuries, 
"La Bonne Lorraine" ! 

Thine are the Angels that upbear 
In Ruin, Doubt, and black Despair ; 
And in that hour when foes increase 
Saint of the Hearthstone and of Peace, 
Pucelle, for us thy sword and prayer, 
"La Bonne Lorraine" ! 

M. M. 



By the Author of " The Martyrdom of an Empress " 

ONE of the prettiest "Fontaines" in France, once, was the "Fontaine 
aux Groseillers,"a Hmpid spring bubbling merrily within its natural 
basin of moss-tinted granite, and overshadowed moreover by a mar- 
vellous tree, known all over the country-side by the alluring name 
of "I'Arbre aux Fees." Children gathered there often, a trifle fearfully 
perhaps, since they were much afraid to disturb the nixies and fays 
drowsing among its cool verdure — for, alas ! they were reputed to be 
easily angered by noise, and very, exceedingly tricky when thus irri- 
tated. However, when the children could coax the nine-year old 
daughter of a certain farmer named Jacques to head their timid battal- 
ions, they approached the "Fontaine" and its tantalizing tree almost 
with courage, since, as they put it, "Jeanneton had power over the 
fairies, the elves, the birds of the air, and all other beasties of wood 
and furrow.'' 

This courageous little person of nine was already a curious type 
of ancient, ancient France ; her turn of thought was a bit mystical, 
but her singularly clear and sound mind, her lithe, strong body, were 
the ideal of healthy childish perfection. Her chestnut locks fell about 
her sun-kissed face, her straight nose with quivering nostrils gave the 
impression of high mettle, and her eyes were wonderful ; blue as 
gentians are, though when she was "thinking deep," as the saying 
goes, they lightened perceptibly to a velvety azure, which reflected noth- 
ing at all of what passed within her mysterious little soul. When angry 
on the contrary — she was not yet a Saint then — these great long- 
lashed eyes turned almost black, as black at least as a dark sapphire 
seen by the light of a candle. 

Shortly after she had reached her ninth birthday, the undercurrent 
of passion no one had ever divined in her, was suddenly aroused 
by the brutal inroad upon her quiet and pastoral surroundings of 


From a modern photograph 

a fierce troop of English and Burgundian soldiery, who fell upon this 
verdant corner of Lorraine, faithful to France, and swept, sword and 
torch in hand, through its flower-starred fields and creeper-grown 
cottages, leaving death and destruction behind them. 

Her small fists clenched, her face as white as snow, her eyes kindled 
to points of flame, the child stood still as a statue while her home- 
stead was ransacked and pillaged. She never uttered a sound, nor 
allowed herself a shriek, and no tears came to her relief. When the 
enemy had gone, and only then, did she seem to come to herself, and 
to her father and mother's fright the child's pale rigid lips parted, 
and she spoke : "Soon we will avenge this !" was all she said ; but 
the voice was so altered, so strangely determined and inexorable, that 
they believed her brain had been turned by what she had just witnessed, 
and plied her with dainties, begging her to be a "good little girl again !" 

"A good little girl" she did indeed prove herself to be. She fed the 
wild wood-doves that flocked about her whenever she called them, and 
carefully tended the famous sheep, the reiteration of whose woolly 
presence has become somewhat monotonous during the long centuries 
that should have left them behind in the dim past — useful but perchance 
overdone accessories. She had a special tenderness, too, for blossoms 
of all sorts, especially for those of a huge climbing white rose, that in 
the fullness of their transparent florescence revealed a shining heart of 
gold. The foliage of the great rose, climbing to the very gables of the 
house, was of a greyish green, edged — as many such foliages are even 
nowadays — with delicate carmine, exactly of the same color as that 
of its big hooked thorns. These flowers were her particular delight, 
and often when the full moon shone she would crouch before the 
great clusters of bloom until their spicy perfume and nacred white- 
ness so wrought upon her that each and every rose seemed a little 
angelic face smiling at her through glorious golden eyes. 

One fine mid-day of July, in the year of Our Lord 1425, the girl, 
who was nearing now the wise age of fourteen, was standing in the 
garden spinning; one hand whirling the spindle tirelessly with the 
mechanical and unthinking precision that long habit brings. As it 
happened, white wool in a fleecy mass was wrapped about her distaff, 
bound lightly by a blue cord. Her whole body was still, excepting 
for the busy little hands fluttering from spindle to distaff. She was 
facing her white roses — just now at the height of their beauty — never- 
theless her eyes were of their most sombre blue, for it was the anni- 


^'ersary of that Anglo-Burgundian invasion which had left such an 
ineffaceable impress vipon her soul. Immovable, she was awaiting 
the song of the noonday bell that soon would drift down to her from 
the slender spire of the little church close behind. At last it came, 
one melodious clang, another — and then dazzled by the summer shine 
of her cascade of roses, it seemed to her that a great light began to 
radiate from them, spreading in broad rays to form a quivering 
Aureole. On and on sang the bell, dropping to a mere murmur of 
floating music, rising again as though to underline its crystal-clear 
meaning. She understood what it meant to convey, her whole being 
trembling with desire to hear more, and yet more, in order to com- 
prehend quite ! Her spindle was lying on the grass at her feet, her 
gaze was as azure now as the turquoise of the sky above, and slowly 
she knelt down, a glory on her face, praying, praying, for guidance 
and the power to obey the wondrous command. 

It is to be feared that after-times misunderstood the character of 
that little maid, and the import of that moment. She has been pre- 
sented as an "Illuminee" ; as a half-masculine being, with a genius for 
war and a nimbus of legend ; again, as simply demented ; and even as 
a "white witch" with supernatural powers. But all these conceptions 
are as false as any will be that fails to consider the time when she 
lived, and the inwardness of this peerless creature; whose "imagina- 
tion" led her to the self-abasements and self-sacrifices of heroism, 
and whose whole being was permeated with Faith of the most golden, 
pure, and true. There exist to-day similar natures and characters, 
differing from her's only in degree and achievement; but one only 
meets with them in those lands that like Brittany retain in a large 
measure the ideas and the beliefs of the Long Ago ; where stubborn 
heads and loyal hearts refuse to be convinced by any argument that 
they are no longer what their fathers were, that Heaven is nothing- 
ness, and all that is Royalty is forever gone. They, too, are called 
mystics — "illumines" — fools, perhaps, but what can prove their folly 
excepting Time — and the Almighty hand which guides all Fates, 
sometimes by instruments made slender that they may vibrate and 

As if born to be guided by fortuitous circumstances, but a com- 
paratively short time after the Vision in the Roses, a footsore way- 
farer stopped at the farmstead where the little maid thought and 
fretted over things "too high for her," as her parents would have said 



From the painting by J. J. Scherrer 








had they but known. The traveller came from far, and he was as 
yet only at the end of half his journeying. He asked permission to 
rest an hour or so in the shade of the trees, and if he might be par- 
doned for such boldness, a sup of milk and a crust of bread, for which 
he craved the boon of paying. The Farmer, however, would have 
none of this. "Pay? Nenni, mon camarade" ; he was not so poor as 
to require payment for a meal — except the payment be a little news 
from the outside. News was rarer than coin and more valuable in 
this green desert of Lorraine, where he labored in the sweat of his 

Nothing loth, as soon as refreshed, the "passant," luxuriously re- 
clining on the velvet sward, began to talk, and to talk well, too — as 
was the wont of many wanderers of those days, whose only equipage 
was their shoon. 

He told much of the death of the King, intermingling the tragic 
recital by more than one orison, for like the people of Paris, he could 
not but deplore this great misfortune, and like them, repeat again and 
again "Ah, never will we have one like you again, beloved Sovereign ! 
Misfortune awaits us now, ruin, wars, and deep sorrows." In his 
picturesque language he told how while the King was dying, his 
reluctant Dauphin was on the road from the Saintonge to Berry, where 
he mostly resided, and how he, as soon as his father's death was made 
known to him, had adopted simply the title of Regent of France, well 
aware of the dread complications his claiming of the Throne would 
entail. The sketchy portrait of Charles, the erstwhile Dauphin, was 
given in a few masterly strokes of the tongue. A mere boy, alas, 
head-strong and yet weak of purpose and action. Handsome, 
debonnaire, pleasure-loving; in fine, one who would never be fit to 
hurl the English out of France and hold alone the tangled reins of 
government. A "beau-parleur," but vacillating in his decisions and 
opinions. But who was there to help him retain the Royal state he 
had finally adopted — after interminable tergiversations, and when still 
at his private castle of Mehun-sur-Yevre ? 

Many comments followed, the Farmer and his guest exchanging 
remarks more or less sapient, but which fell in two pretty ears, very 
wide awake indeed. For the young girl, though apparently fascinated 
by her eternal distafif and spindle, stood unnoticed close behind them, 
ardently drinking in each syllable. "They say yonder that France^ 
lost by a woman, will be reconquered by a virgin," the traveller quoted, 


adding a doubt or two about the sanity of this prediction, which was 
echoed by the peasant's derisive laughter! The girl shivered. What 
had those bells murmured to her heart? Why had the roses quivered 
and shone like the wing-feathers of Angels? What were those signs 
all pointing to, and why also this ever-increasing restlessness, this 
unquietness of heart, oppressing her more and more as day followed 
day, and night followed night ? Suddenly she bent brusquely forward 
between the two men, her face flushed, her eyes ablaze with en- 

"Why do you laugh?" she cried. "Why should not the prophecy 
be true?" 

Both hearers turned, startled by that sudden apparition, and by 
those bold words. 

"Are you mad?" the angry father clamored, astounded by a 
liberty of speech and attitude unheard of then when children addressed 
their parents. The "raconteur" was staring at the beauty of face and 
form so unexpectedly revealed to him: "Have you swallowed all 
shame ?" the father vociferated, "to dare speak to me in such a fashion, 
and before a stranger, too ?" This seemed a hard pill indeed to down ! 
His hitherto humbly respectful daughter apparently took no heed of 
wrath or remonstrance. She had straightened herself, and was look- 
ing fixedly in front of her : 

"Let me go," she said in a strangely calm voice. "Let me go, and 
make that poor Prince a real King. Let me go and save France. I 
know I can do it. I have known it long, and now the time has come. 
Let me go !" 

Her tone was neither supplicating nor imperative. She asked a 
boon, but as if it were her unquestionable right, and the men jumped 
simultaneously to their feet in order to stare at her more nearly. A 
dusky red had overspread the paternal countenance ; the father's grey 
eyes were sparkling with fury. 

"Hear me !" he growled, "if you speak thus again, if you attempt 
any folly, I shall drown you with my own hands in the horse-pond. 
Begone, you sinful lass, and keep home till I release you from pen- 

But the girl remained unmoved, though her father had raised his 
heavy hand to strike. 

"Hold there, comrade!" said. the wayfarer, stepping hastily between 
him and the girl. "Look at her — look at her, man. Why she's in- 


5, m 

spired, predestined ! . . . Do you know what Merlin the En- 
chanter predicted long, long ago? . I now remember having 
heard it. 'A virgin will save France,' eh? Look at your child, inon 
gars, and blaspheme no more!" 

"Blaspheme or not, she shall obey me !" the other, quite beside 
himself, cried out, raising his arms heavenward : "A girl who fright- 
ens everyone with her owlish ways, her pretense of finding everything 
that's lost, even water underground . Almight God — who 

cursed my house with such as she !" 

The "Pastoure," as she was called, owing to her love for animals, 
and her tending of flocks, was still motionless ; her face had whitened 
under its amber tan, but otherwise she showed no dread, no emotion 
of any sort, though her father's violence usually terrified her. Her 
mind was made up ; this was a fact that any keen observer might have 
seen at a glance, but even this sleek-spoken wanderer who gazed 
steadily at her did not see. 

"It's the hour for me to go my way," he said, "and if you will 
take a friend's advice. Gossip, don't punish the child. She's a rare 
beauty, and a Saint from Heaven, too, if I'm any judge. Anyhow, 
I'll proclaim her virtues wherever I go; and so thanking you for your 
generosity, I'm off." 

Probably the emotions of the last half hour had been too much, 
even for the sturdy tiller of the ground, for he let this chance visitor 
depart without a gesture of either acknowledgment or reproof. But 
at the first word of adieu the girl had fled, and so well concealed 
herself, that clever would have been the one who could have dis- 
covered her. 

Time stumbled along under circumstances that for the inhabitants 
of the little farmstead were nothing but an armed truce. The young 
girl was constantly watched, her parents and brothers being neither 
tender nor confiding, but her own resolve remained unshaken. Hourly 
almost she implored the King of Heaven to let her save that earthly 
King — rightful Sovereign of France — who did not know how to save 
himself — and free his kingdom. Silently, calmly, the "Maid" con- 
tinued to elaborate plans, which being given her complete ignorance — 
of course, she could not even read — were as marvellous as her Heav- 
enly promptings had been. 

She had become wondrously beautiful, and the lads of Lorraine 


were not blind enough to overlook this fact. One of them especially, 
the handsomest stripling of them all, blue-eyed and golden-haired, was 
resolved to gain her love, having with old-time honesty obtained first 
the consent and encouragement of his coveted father-in-law to be. 
"It will drive every dream from the maiden's head to enter married 
life," the farmer had told his good wife; at which sage remark she 
had nodded assent, knowing too well what married life was, in her 
case at least, to question its driving away dreams. 

The maiden, however, wholly obdurate to the languishing glances 
of her suitor, equally by sun or by moonlight, at last appealed to her 
Father-Confessor to defend her from so distasteful a pursuit. Hence- 
forth her home-life, from the painful thing it had been, became utterly 
unendurable, though she showed no outward sign of her deepening 
grief. But after another while she could bear no longer the perpetual 
tension under which she labored ; and one night, in the dark of the 
moon, she fled to the house of her uncle, situated a few leagues away. 
There were thorns in the forest, and thread-like tracks where branches 
crossed each other ; no doubt now and again a wolf snarled in the 
dense thickets ; but what cared the stout-hearted lass who knew no 
fear, excepting that of doing wrong? Her flight seemed right to her, 
and a thing she could not have avoided had she wished to do so. It 
was pre-ordained, the result of a command she could not disobey ; so 
what mattered effort, nay, even pain? A voice seemed to sing in her 
heart that her aim was near to its accomplishment, and she could 
not doubt. Besides, so acute were her senses, so closely had she 
lived with Nature, that darkness and obstacles melted before her fleet 
progress. The pallid phosphorescence of the huge fungi clinging to 
the trunks of trees, or flattened on the moss, gave light enough, she 
thought, and when a startled owl flew noisly above her head she was 
in wise alarmed. All birds were her friends, and more, had not 
she herself been called owlish in her ways? On and on she ran, un- 
fettered now, and unhindered, light as thistledown, praying the while 
almost unconsciously to that Great King who sat enthroned far beyond 
the sombre forest-roof and the black vault of Heaven above ; yes, 
praying for the "poor Prince" whom she was hurrying now to make 
King of her beloved country. 

The dawn was just creeping grayly upon the sleeping world when 
she drew near her goal, so she knelt to the soft Angelus of the pale 
"Clochettes" — those flowers that are reputed to swing their little 


lilac bells in the mist before sunrise — and said her beads more rever- 
ently and fervently, if that w^ere possible, than on other morns. 

Her uncle, less thick-headed than her father was, greeted her right 
joyously; and after a while consented to take her to the Sire de Baudri- 
court, in command at Vaucouleurs, to whom she said simply : "Lead 
me to the Dauphin" (she would not call him King until he had been 
anointed), "My King of Heaven sends me to save him." 

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From this point, however, history, written in all languages by all 
sorts of wise or otherwise men, tells whomsoever wills to read, the 
stormy life of "la Pastoure," henceforth Jeanne d'Arc, who at one and 
the same time was the greatest leader and strategist of her day, who 
conquered the English, saved France, and set her Kingly Protege on 
his rightful Throne. What use is there to say more? 

What goes before is merely the true portrayal of the little maid, 
before her name rang throughout Christendom. The beads of this 
chaplet were gathered from the sayings of simple people among whom 
the tale was handed down from generation to generation ; as also from 
certain black-letter parchments that lie hidden in the never-visited 
muniment rooms of old castles, together with a great respect for past 
grandeurs and past martyrdoms. Thus are there a score or so who 
know how the sweetest and purest of beings came to win Paradise for 
her own, through blood and battle and fire ; which left her unscathed 
and unhurt in heart and in soul, whatever some of her tormentors may 
have claimed to the contrary. 



Commissioner of Parks, City of New York. 

Air. Chairman, Ladies and Gentlemen: It is the purpose of the 
Committee and the Societies in charge of this exhibition to erect a 
statue to Joan of Arc in the City of New York; and for this reason 
doubtless the Park Department is represented here to-day. With 
the invitation to speak on this occasion came the assurance that this 
monument will be a supreme work of art, and I accepted the invitation 
gladly. For I do not believe that the Park Commissioner, to whom 
the application must be made for a site for a proposed public monu- 
ment, should stand at the gates of our parks, like an ugly watch dog, 
to warn off builders of monuments. It is true our City is famous 
for some amazing statuary. But acceptance of the bad in the past 
furnishes not the slightest ground for rejecting the good to come. 
Long-continued jesting over our freakish statues has produced a 
widespread indifference, not to say antagonism, to more statuary in 
public places. This should not be. Rather let it be the City's rule to 
welcome gifts of truly great statues to truly great men and women. 
For such there long will be room. And more room can be made by 
a dexterous determination to rid our city of the monstrosities which 
now disfigure it — a deed already accomplished in one famous case. 

Who will say there is an excess of good statuary in our city? 
In the "Catalogue of the Works of Art belonging to the City of New 
York," prepared and issued by the Art Commission in 1909, the number 
of entries under Sculpture, including Tablets, Fountains, etc., is 222, 
but the actual number of public statues, not counting the numerous 
Mayors up on the Hall of Records, and the numerous law-givers high 
up on the Court House of the Appellate Division, is only about one- 
third this number. As for Paris, I find in Henard's "Les Jardins et 
les Squares," published in 1911, a list of statues, fountains, and other 
monuments in the gardens and squares of Paris, amounting to 412, 
still far ahead of our city numerically. 

For a long time our city gave no encouragement to public monu- 




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ments. Its record to the middle of the nineteenth century is thus 
stated in our Art Commission's Catalogue : 

"In the years between the founding of the United States Govern- 
ment and 1850, various attempts were made to induce the Common 
Council to erect statues to distinguished men and individuals, and 
certain societies sought to enlist the co-operation of the citizens to 
honor men in this way. All efforts to secure either public or private 
funds for erecting statues were unsuccessful during the first sixty 
years following the Revolution. The first piece of sculpture bought 
by the city was the white marble bust of Henry Clay, purchased in 1852. 
although a few busts were presented to the city much earlier than this." 

In that time, when the city made the first purchase of statuary, 
Central Park was called into being; and in the sixties, after the Park 
Commissioners had built that elaborate piece of architecture known 
as the Terrace, a big sculptural question arose. The original designs 
included "full-length statues, as also busts, of distinguished Ameri- 
cans, upon the large pedestals," which are now covered with orna- 
mental caps, then thought to be temporary. A writer of that day 
congratulates the Commissioners on "making no attempt whatever as 
yet to procure statues for these places," and he advises that "it be 
not done until there is ample means to secure the best work possible 
in America." The same writer goes on to say, "First-rate statues are 
as yet hardly to be got for money here, though we cordially believe 
that they will be produced in good time ; but until they can be had it is 
best to wait, for a second-rate statue is like a tolerable egg — it is not 
to be endured. If one statue is found fit to be placed upon the 
Terrace in a generation, we shall think we are getting on very well 

But far away from those days, both in time and artistic ability, 
is our present age. America now has, here and abroad, sculptors 
fitted for any task. 

Still, granting all this, I find that some quite intelligent fellow- 
citizens smile at the proposition of a statue of Joan of Arc here in 
New York City. They smile because to them she seems not only to 
belong to a far-away and different age, but because they find her 
both visionary and legendary. Though much that is legendary early 
gathered around this marvelous maid, yet probably by reason of both 
the lengthy trial and the elaborate depositions at the rehabilitation, the 


character and the career of no hero of past centuries are more clearly 
defined than those of Joan of Arc. 

Though she saw visions, she was far from being visionary. No 
leader of men ever knew better how to keep her counsel than did 
she. She saw clearly the task set for her, and knew how to await 
the time of its fulfillment. After she had heard the voices and beheld 
the saintly visitors, she continued in the daily work of her peasant 
home, the work of spinning, sewing, of tending to the flocks in the 
fields. She was not, nor did she seek to become, an ascetic saint. 
The voices told her to save France from the English; they said to 
her, "You must go into France ; go, raise the siege which is being 
made before the City of Orleans," and she replied, "I am but a poor 
girl, who knows nothing of riding and fighting." But these voices 
were obeyed, though she could say later, "I would rather have been 
torn asunder by four horses than have come into France without God's 

The marvelous clear-headedness of this visionary is shown in num- 
berless instances in the trial, as also, for example, is shown how far 
removed this visionary was from the class of the sorcerer and the 

"What have you done with your mandrake?" 

"I never had one. But I have heard that there is one near our 
home, though I have never seen it. I have heard it is a dangerous 
and evil thing to keep. I do not know for what it is used." 

"Where is this mandrake of. which you have heard?" 

"I have heard that it is in the earth near the tree of which I spoke 
before ; but I do not know the place." 

"What have you heard said was the use of this mandrake?" 

"To make money come; but I do not believe it. My voice never 
spoke to me of that." 

And when, as often, they sought to entrap her in her words, how 
vain ! 

"In what likeness did Saint Michael appear to you ?" 

"I did not see a crown. I know nothing of his dress." 

"Was he naked?" 

"Do you think God has not wherewithal to clothe him?" 

And what tenacity did she show over and over again when the 
Bishop of Beauvais and the Assessors sought to make her reveal things 
she had sworn not to reveal ! 



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"What sign did you give your king tliat you came from God?" 

"I have always answered that you will not drag this from my lips. 
Go and ask it of Him." 

"Have you sworn not to reveal what shall be asked of you touching 
the trial?" 

"I have always told you that I will tell you nothing of what con- 
cerns my king. Thereon I will not speak." 

"Do you not know the sign that you gave to the king?" 

"You will not know it from me." 

"But this touches the trial." 

"Of what I have promised to keep secret I will tell you nothing. 
I have already said, even here, that I could not tell you without 

And even in respect to fairies and the "Fairies' Tree," how Joan 
of Arc stands apart from her age and her playmates ! On this sub- 
ject she said at the trial, "I have also heard one of my godmothers 
say that she has seen fairies there ; whether it be true, I do not know. 
As for me, I never saw them that I know of. H I saw them any- 
where else, I do not know. I have seen young girls putting garlands 
on the branches of this tree, and I myself have sometimes put them 
there with my companions. But ever since I knew that it was neces- 
sary for me to come to France I have given myself up as little as 
possible to these games and distractions. There is also a wood called 
the Oak Wood, which can be seen from my father's door ; it is not 
more than half a league away. I do not know and have never heard 
if the fairies appear there. But my brother told me that it is said in 
the neighborhood : 'Jeannette received her mission at the Fairies' 
Tree.' It is not the case, and I told him the contrary. When I 
came before the king, several people asked me if there were not in 
my country a wood called the 'Oak Wood,' because there were prophe- 
cies which said that from the neighborhood of this wood would come 
a maid who should do marvelous things. I put no faith in that." 

And so I might go on for an hour to show by such quotations how 
this maid of visions and voices was anything but a visionary. Well 
may New York erect a statue to such a visionary, one so clear-headed, 
resolute, and practical. For our age and our land, no less than other 
ages and lands, need men and women who can see such visions as will 
enable them to guide us on our onward march, to the City of God. 



Chairman of the Board of Trustees of the Museum of French 
Art, French Institute in the United States. 

The occasion which brings us here is in every sense most interest- 
ing; the time at our disposal is, however, so short that I do not 
hesitate to confine my remarks to the personality of this very remark- 
able woman, in many respects one of the most remarkable women of 
the world; this exhibition has brought together in a country the 
existence of which was not at that time, at the time she was born, 
even dreamed of, an assemblage to do her honor, and to perpetuate 
in this new land the memory of her noble deeds. 

It is not possible for me to allude in detail, as I shall not have 
the time to do so, to the events in her life, beyond simply recalling to 
your mind that she was born of simple peasants in the Eastern part 
of France, not very far from Nancy, and that her house still exists 
to-day and is visited by tourists frorn all over the world. 

Whether her impulse came from visions or from religious en- 
thusiasm, or from what to me seems to be a much more likely ex- 
planation, the growing feeling of modern patriotism, is immaterial; 
Mr. Stover has explained to you his idea of what the moving impulse 
was; be all that as it may, at any rate what she did has seldom been 
equalled by any one, be it woman or man. 

Her trip to Chinon to impress upon the King of France, or rather 
the uncrowned King of France, a sense of his responsibilities would 
of itself stamp her as one of the great characters of history. Her 
composure when she found him, she, a humble peasant girl among the 
entourage of a court, was altogether remarkable. Following this 
interview, and notwithstanding many discouragements, she so im- 
pressed the would-be Monarch of France with a sense of his duties 
that he finally allowed events to take the course which she indicated; 



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and her path was not by any means an easy one, for even in her most 
clear-cut ideas she was constantly being thwarted by people who 
perhaps were jealous of her possibilities, or who, through sheer in- 
capacity, were unable to perceive the standard which she was raising. 

Her role at Orleans was extraordinary; that city, we may say, 
fell almost at the approach of her steps ; her subsequent desire to see 
the King crowned in Rheims was carried in very much the same sort 
of way; one of the greatest art monuments of France, the Cathedral 
of that city, became thus forever associated with her personality. 

She stands as the embodiment, in my judgment, of the irresisti- 
ble power which womanhood, true womanhood, is able to exercise 
for good over humanity, and as such her memory can well be 
cherished and blessed, and she may be taken as an inspiration all 
over the world. (Applause.) 



Secretaire General de la Federation de l'Alliance Fran^aise. 

Monsieur le President, Mesdames, Messieurs: 

La Federation de l'Alliance Frangaise aux Etats-Unis et au Canada 
ne pouvait manquer de s'associei" aux hommages rendus a Jeanne d'Arc 
a 1 'occasion du cinq-cent-unieme anniversaire de sa naissance. En 
"boutant" I'etranger hors de France, Jeanne d'Arc a non seulement 
assure I'independance de son pays, mais elle en a sauve sa langue et 
sa litterature qui auraient sans doute fini par disparaitre, au bout de 
quelques siecles, sous la domination anglaise. Elle a done en quelque 
sorte commence cette campagne que poursuit l'Alliance Frangaise, pour 
la diffusion de notre litterature a travers le monde, et a ce titre nous lui 
devious un tribut de reconnaissance. 

Qu' elle soit, comme elle le dit, I'envoyee de Di'eu, ou non, Jeanne 
d'Arc n'en reste pas moins une creature humaine qui agit, dans toute 
la liberte et la conscience de son individualite ; I'appel divin n'a pas 
fait d'elle une de ces creatures amorphes, sans ressort et san energie, 
qui agissent comme des automates, nous trouvons en elle des facultes 
harmonieusement ponderees. 

Entre tant d'autres belles qualites, ce que j 'admire le plus en Jeanne 
d'Arc, c'est son intelligence. Des le premier jour de sa carriere pub- 
lique elle a vu nettement le but qu'elle voulait atteindre et elle a claire- 
ment distingue les monyens d'y parvenir. 

S'il y eut jamais une epoque dans I'histoire du monde ou il fut plus 
difficule de connaitre son devoir que de I'accomplir, ce fut sans con- 
tredit celle ou Jeanne parut a la cour de Chinon. 

Quel etait alors le roi legitime de la France ? 

Dequis un siecle on s'entregorgeait sur les champs de bataille 
pendant que les legistes discutaient pesammant sur le provisions de la 
loi salique. Le royaume de France etait presque egalement partage 
entr€ le roi d'Angleterre et le pauvre roi de Bourges. Bien plus, en 
vertu du traite signe a Troyes en 1420, le trone de France avait ete 


regulierement cede au roi d'Angleterre Henri V, qui avait part surcroit, 
epouse la fille de Charles VI et Isabeau de Baviere ! Comment le 
peuple aurait il pu demeler la verite dans un imbroglio ou les plus 
sages ne se retrouvaient pas ? Si la reine de France avait prefere don- 
ner le trone a son gendre plutot qu'a son fils, pourquoi la masse du 
peuple ne se serait-elle par ralliee autour du drapeau anglais? La 
situation ne laissait par d'etre angoissante. 

Jeanne, elle, n'hesita pas. En arrivant a la cour de Chinon, elle 
salue le Dauphin comme I'heritier legitime des rois de France. De- 
puis longtemps le pauvre Dauphin est sous I'influence d'impressions 
penibles et de doutes affreux. Ce qu' on lui a raconte de la conduite 
de sa mere, lui fait craindre qu'il ne soit pas le fils du dernier roi. 
Mai Jeanne le rassure ; ses voix lui ont revele un secret qu'elle lui com- 
munique ; elle le proclame roi de France. 

Cette intelligence, Jeanne la manifeste a tous les moments de sa 
courte carriere, tant dans ses vues politiques que dans ses plans 

Comment ne pas admirer, Mesdames et Messieurs, la rectitude de 
jugement de cette simple fille des champs qui au Conseil du Roi met 
en deroute la sagesse des politiques vieillis au maniement des afl^aires? 
La grande question qui se posait alors etait moins de savoir comment 
on chasserait les anglais de France, que de determiner I'attitude a tenir 
a regard du due de Bourgogne. Ce puissant vassal du roi le France 
tenait entre ses mains les destines du royaume ; la victoire definitive 
appartiendrait aux anglais ou aux frangais, suivant qu' il accorderait 
son appui aux uns ou aux autres. II etait trop puissant pour qu' on 
songeat a le combattre, or les courtisans allaient repetant qu' il fallait 
se I'attacher par des concessions. Mais des concessions, c'etait la de- 
pendance du roi, c'etait I'amoindrissement du territoire royal, c'etait, 
autant dire, une abdication partielle. Sur ce point, Jeanne n'hesita 
jamais, du premier coup, elle avait compris le danger que cachait "la 
paix de Bourgogne'' et elle reclamait, comme gage de paix, la soumis- 
sion loyale et complete du due au chef de la famille, au Roi de France. 
Les vues de la pucelle ne prevalurent pas d'abord et ce n'est que 
plus tard, lorsqu'elle eut disparu, que les politiques reconnurent 
qu'elle avait raison et se conformerent a ses principes. 

Meme intelligence dans ses plans strategiques, qu'il s'agisse de faire 
passer les troupes royales a travers les lignes ennemies, d'organiser 
une bataille d'assieger ou de defendre une place, elle a des idees simples 


qui font sourire les vieux chefs d'armee, mais qui neanmoins con- 
duisent a la victoire. Rien n'est plus significatif sous ce rapport que ce 
court dialogue avec Dunoise. On organisait alors la delivrance 
d'Orleans. Jeanne I'aborde avec la familiarite et la bonhomie qui lui 
etaient ordinaires. "N'etes-vous pas, dit-elle, le batard d'Orleans? — 
Oui, et je suis ravi de vous voir. — C'est vous qui avez conseille de me 
faire venir cote de la Sologne? C'etait I'avis des plus sages. — Eh bien! 
En men Dieu, mon conseil est meilleur ; vous avez voulu tromper et 
vous vous etes trompe." On suivit done ses lonseils et I'ou reussit. 

Mais la grande preoccupation de Jeanne, ce qu'elle considerait 
comme le but meme de sa mission c'etait le sacre du roi a Reims. Les 
courtisans, de laches opportunistes, declaraient que I'entreprise etait 
hasardeuse, impossible; Jeanne la regardait comme I'etape definitive 
qui precederait la victoire. Elle savait que le sacre dli Roi ranimerait 
les courages ; elle savait que, lorsque le peuple aurait crie sous les 
voiites de la vieille basilique de St.-Remi : "Noel ! Longue vie au Roi 
de France?" ces acclamations se repercuteraient d' echo en echo jusqu' 
aux extremites du royaume dissipant la crainte, ramenant I'espoir et 
rendant I'energie aux volontes afiaiblies. L'evenement lui donna 
raison plus encore que la delivrance d'Orleans, le sacre du Roi a Reims 
changea la face des affaires. Jeanne avait admirablement compris la 

Telle fut, JNIesdames et Messieurs, I'intelligence de Jeanne d'Arc. 
Si, par d'autres qualites aimables on fortes, elle est le type de la 
femme en general et de la femme frangaise en particulier, par la 
nettete de ses vues et la clarte de ses idees elle represente un des 
aspects les plus caracteristiques du genie franqais. 



Honorary President of the Joan of Arc Statue Fund. 

"At midday, in my father's garden, in the summer.'' 
Mr. President, ladies and gentlemen : I quote those words first 
because something said them, I don't know what, the voice a long 
time ago. I do not understand what that voice was. No one ever 
will. It was something that only came to the peasant girl in the low- 
lands of Lorraine, and, at the command of that voice, she left her 
home, her father's garden, where she first heard it, the voice, and 
went forward to Orleans to the war — you all know that. And you 
know what France thinks of the Maid of Orleans. 

I have seen perhaps the grandest pageant of modern times at Com- 
piegne, and when nobody seemed to know who took the part of 
the king and of the other characters there, but it seems by one 
accord they selected a lady of noble birth to take the part of Joan 
of Arc. Probably some of you have seen the processions in Paris, 
long lines of flowers, far more impressing than the roar of cannon 
and the beating of drums. Mr. Stover has told us what she is 
thought of in America, but here it might be well to say what she 
is thought of in England. If there is any place in the world that we 
would not think she would be well thought of it is in England, but 
at the pageant there, in London, in the grounds of the Protestant 
Bishop, it was feared that if they had Joan of Arc as one of the 
characters it might make feeling in England. I was there at 
the opening day and there was quite a large representation of the 
Army of England scattered around before the ramparts of Orleans. 
They were all deriding the girl that was to come, calling her a witch, 
and then there was a very little stir in one part of the field, and a 
lady on horseback galloped forward. There was the noise of battle, 
but in a very little while she was victorious, and the banner of France 
floated there over the ramparts, and that English audience rose up 


and cheeredj as only the English can, showing that English fairness 
had prevailed. 

Then at the Shakespearian Ball the Countess of Lytton took the 
character of Joan of Arc from Shakespeare's Henry \'I, a play little 
known at that, and this is one of the most remarkable characters per- 
haps in Shakespeare, and was very ably represented. 

I happened to look over that play last night, and I was very 
much struck there with the words of Shakespeare, who in his 
prophetic flight puts these words into the mouth of the King: "And 
Joan, the Pucelle, shall be France's Saint." That was a long time ago, 
and within a very few months it is expected she will be the Saint of 

Then at the Shakespearian dinner of the Urban Club in London, 
which I had the honor to attend, I spoke of the statue that might be 
erected of Joan of Arc in New York. There was an applause to that 

Then last summer I went to Hasselt, a little town in Belgium. 
Every seven years they have there a pageant and festival of the Tree 
of Jessie ; historical, biblical and legendary characters from pre- 
historic times are represented in a long procession, and they all 
walked, with one exception. Joan of Arc alone rode on horse- 
back. As to the biblical characters, of course, they have to go 
into the Holy Land for those, but I don't think, apart from that, 
there was any character outside of Belgium, except Joan of Arc, 
and that was pretty near the borders of Burgundy, the country she 
fought against. 

I mention that because Mr. Stover spoke of places where she 
was well thought of in America. Certainly if she is in England, she 
ought to be well thought of here. 

There is one thing more I would like to say that you probably 
will remember. When she wanted to go to Orleans, and said 
that she would take the city, somebody said, "But God would not 
have us believe you, unless you show us some sign ;'' and she replied, 
"I have not come to give signs, but to take Orleans — that will be 
my sign." 

That is the feeling we ought to have here. Dr. Kunz will tell 
you that there are funds enough, and this afternoon you have all 
shown that there is interest enough, so I think that we will very 


soon learn that the statue is erected, and we can take people to see 
it, and that will be the best sign that there is an interest in Joan of Arc. 
Mr. Stover has said so much about history that I don't think there 
is much that I can say, especially as it is getting rather late. Everyone 
here, after they have heard the other speakers, especially the French 
Consul, who represents France, I am sure will think it will not 
be necessary to talk about the statue because they will soon take their 
friends to the park or somewhere, and say, "That is the statue that has 
been put up in the City of New York to the Lily Maid." (Applause.) 


(written for the JOAN OF ARC COMillTTEE.) 

Nemours, January 3, 1913. 

What can I tell you, sir, about Jeanne d'Arc? Everything has 
been said and written — of her all comes from the heart and all goes 
to the heart. She was the adoration of my youth and of my middle 
life, and she causes enthusiasm in my old age. Of her prodigious 
path among men, no certain documents are known other than the 
depositions through her own mouth at the time of her trial and the 
less reliable depositions made in the course of her trial for rehabilita- 

The rest is nothing but talk and useless verbiage. One writer only 
has risen to the height of such a subject, the genial hallucinated 
Michelet, in a short recital, all vibrating with emotion. 

In tears he related to us the mission, the passion and the Calvary 
of the humble country woman ; as admirable by her prodigy as by her 
delicious and pitiable humanity. 

Jeanne d'Arc does not belong alone to France, but also to all those 
whose thoughts are enough elevated to grasp the superior and the 
beautiful amidst goodness. 




Secretary of the American Scenic and Historic Preserva- 
tion Society. 

Mr. Chairman, Ladies and Gentlemen: I shall try to express just 
two thoughts which may serve perhaps as an answer to those of whom 
Commissioner Stover spoke, who smile at this idea of erecting a 
statue of Joan of Arc in New York, and which may also explain the 
reason why nations other than France admire this character, as 
Mr. Saltus has said. For that same question has been asked of me: 
"Why do we want a statue of Joan of Arc in New York?" And the 
objections appear to be twofold. First, they say France is so far away, 
and what do we Americans have in common with Joan of Arc? The 
second objection is that of time : She lived so long ago. 

First, my answer is to the geographical limitation : Truth and 
genius and goodness do not know geographical boundaries. You can- 
not draw an imaginary line, and set a limit to the influence of virtue 
and genius. Whoever serves his fellowmen in any way serves the 
world, so that we can claim a proprietorship in all of the great men 
and women who have lived in the past. England may take particular 
pride in Shakespeare and Ruskin and Dickens, but I think we feel that 
we have a share of proprietorship in them, as much as England, and 
we do not withhold our admiration of Hugo and Moliere, or Cervantes, 
or Michael Angelo, or Goethe, or Beethoven, or Mozart, or WiUiam 
of Orange, or Van Dyke, because they were foreigners. No nation 
can copyright her geniuses and prevent others from feeling their in- 
fluence, admiring them and striving to imitate them. So that we of 
America, and we of New York, share the culture of the world, and 
we have a share in all that was good in Joan of Arc. 

Now, as to the time limitation : Every man and woman — I am 
sorry we have not in the English language a pronoun which repre- 
sents both sexes, so we have to use the word "man," and I mean 
by that man and woman — every man serves his generation in 
the terms of the generation in which he lives. I think it was Taine 


who said that character and the expression of character depend uix)n 
three great factors, namely: heredity, environment and epoch, and by 
epoch lie meant that accumulation of human experience which repre- 
sents a stage of civilization at any time. Joan of Arc expressed herself 
in the terms of her generation. It may be objected that she was born 
eighty years before Columbus discovered America. It was an age of 
inquisition, it was an age of mysticism and superstition, it was 
when kings and queens had a different status than now. What have 
we in common with her? The point is, she expressed herself in the 
terms of her generation. So did George Washington. If George 
Washington lived to-day he could not be President of the United 
States ; he couldn't be the same George Washington and be President 
of the United States. If he were President of the United States he 
would be a different George Washington. If Shakespeare lived to-day 
he could not have put a play on in one of our theatres. We could 
not have had the heroism of Jack Binns one hundred years ago, 
because the instruments with which he expressed his heroism did not 
then exist ; but this is the important thing, the principles which lie 
back of all these manifestations of patriotism, goodness, truth, virtue, 
know no limitations of time, and their influence is just as strong to-day 
as it was 500 years ago. 

Joan of Arc was essentially a patriot ; she had ideals and she had 
the conviction of them ; and she endeavored to lead the lawful rulers 
of her time to do their duty. And who shall say we do not need the 
value of such an example to-day? I believe every thinking person has 
in the chambers of his thoughts a Hall of Fame in which he sets up 
images of poets, and musicians, and patriots, and great men and 
women he admires, and I think those a very great influence on our 
lives. And since good examples are contagious — as well as bad ex- 
amples — I think it is our duty to materialize those ideals in the form 
of statues, and set them up outside of our thoughts in public places, 
so that they can also influence other people. 

And those are the reasons why we have this exhibition to-day, those 
are the reasons why we want to put up a statue of Joan of Arc in 
New York. (Applause.) 



President of the Joan of Arc Committee, 
(with chronology.) 

Ladies and Gentlemen : It is one of the strange ironies of history 
that those who compassed Jeanne's destruction took great pains to pre- 
serve a full and complete record of her interrogatories. While only a 
few fragments remain of the original minutes in French, a complete 
translation into Latin was prepared by Thomas de Courcelles, at the in- 
stance of Pierre Cauchon, the Bishop of Beauvais, Jeanne's most im- 
placable enemy. And yet no nobler monument exists of the Maid of 
Orleans than this very document, for it reveals at once the perfidy of her 
judges and her own earnestness, honesty and singleness of purpose. 

The artist who wishes to represent the Maid of Orleans can no- 
where find a better source of inspiration for his task than a perusal 
of this record of her trial. The old portraits and miniatures differ 
considerably from each other and do little more than suggest a gen- 
eral physical type ; the spirit, the life, the soul, must be drawn from 
the simple and touching words spoken by Jeanne in answer to the 
questions of her judges. 

We have several representations of Jeanne d'Arc dating from an 
early period, but the most competent authorities believe that none of 
them can be looked upon as portraits in the strict sense of the term. 
M. de Viriville and M. de Bouteiller, who have written valuable mono- 
graphs on this subject, incline to the opinion that a remarkable 
equestrian statuette, now in the Musee de Cluny, and formerly in the 
Carrand and Odiot Collections, gives us the earliest, and possibly the 
most authentic, type. They believe that this figure, or its prototype, 
was one of those set up for the veneration of the faithful in many 
churches throughout France, in the years 1429 and 1430. Another 
larger statuette, in the Musee de Cluny, of a similar type but of later 
date, came from the Church of Montargis. Such figures are mentioned 
in the charges brought against the Maid at her trial; however, when 
questioned, she declared that only once had she seen a picture of herself. 
This was at Arras, and was in the hands of a Scotchman ; but with the 
exception of this statement, nothing is known of such a portrait. 


The earliest of the miniatures depicting the features of Jeanne 
d'Arc was expected in 1451, and is in a manuscript in the Bibhotheque 
Nationale, in Paris (MS. 632, 2). Here the Maid is figured standing, 
holding a shield bearing the arms accorded to her family by Charles 
VII. She has long, blond hair, falling down over her shoulders. 
As the authentic descriptions all agree in the statement that Jeanne 
had black hair, which she wore close-cropped from the time she 
entered on her military career, there can be little doubt that this 
miniature portrait is simply a fancy sketch. 

An old municipal record states that in 1429 there was in Ratisbon 
a painting of "How La Pucelle Fought in France," and in the Church 
of St. Paul in Paris, destroyed in 1797, there is said to have been 
a representation of the Maid in a stained-glass window, possibly exe- 
cuted as early as 1436. No trace exists of the former work, and the 
description of the latter indicates that it may have been some alle- 
gorical figure, popularly regarded as a portrait of Jeanne. 

Very naturally, the principal statues of the Maid of Orleans are 
to be seen in that city. Here, in 1458, shortly after the proces de 
rehabilitation instituted by Calixtus III, a monument was erected in 
her honor, and was placed upon the bridge across the Loire. i\Iany 
of the women of Orleans are said to have sold their jewels and devoted 
the proceeds, as well as their savings, to this purpose. The monu- 
ment was of bronze and the design was very elaborate, representing 
Christ on the cross, at the foot of which was the figure of the Virgin 
Mary, while on the right and left were the kneeling figures of Charles 
VII and the Maid, both depicted in the act of adoring the Redeemer. 
This monument was wrecked by the Protestants in 1567, but it was 
restored — not very successfully, and with many changes — in 1571. 
From an old print it appears that in this restoration Jeanne Dare 
was represented kneeling, and with long, flowing hair ; she was clad 
in a complete suit of armor, wore large spurs, and bore a sword ; 
resting on the ground at her side was her helmet, and an upright 
lance bore a pennon with the arms of the City of Orleans. In the 
disorders incident to the Revolution, this work was finally destroyed, 
the bronze being recast into cannon, one of the pieces being named 
"La Pucelle." While we must regret the destruction of a work of 
such historic interest, we cannot but feel that Jeanne herself would 
have approved the use to which the material was put. 

Just in front of the new bridg'e may now be seen the statue ex- 
ecuted by Frangois Gois, about the year 1800. Here the Maid is shown 


trampling upon a shield bearing the arms of England ; in her right 
hand she holds a naked sword, while with her left she presses the 
orifiamme to her breast, as though in the act of defending it from the 
enemy. The artist conceived and executed the work according to the 
classical standards prevalent in his time, and a critic (M. Buzonniere) 
says that we see here "the Greek style improperly applied to a medieval 

On the Place du Martroi stands an equestrian statue of Jeanne 
d'Arc by Foyatier, which was erected in 1855. The Maid is fully 
armed and is seated on a steed of massive build. She holds the reins 
in one hand, the other being outstretched, while her uplifted face indi- 
cates that she is seeking for grace and inspiration from above. The 
statue is a little over fourteen feet in height and stands on a pedestal 
more than fifteen feet high. 

Perhaps the most poetic and impressive statue of the Frencii 
heroine is that executed from the design of Princess Marie d'Orleans, 
daughter of Louis Philippe. Two copies of this exist, one in marble, 
placed in the gardens of Versailles, and the other in bronze, erected 
before the Hotel de Ville in Orleans. The Maid is shown standing, 
her head slightly bent, as though in deep thought ; her arms are crossed 
upon her breast, and in her rigfht hand is a small, naked sword. Her 
armor consists of a breastplate and she wears a short skirt reaching to 
the knees. On the stump of a tree nearby rest her helmet and gaunt- 
lets. The rustic simplicity of her expression is in striking contrast 
with her warlike accoutrements. In the Grand Salon of the Hotel 
de Ville is a small equestrian figure of the Maid, also the work of the 
princess. Both horse and rider are in the armor of the fifteenth cen- 
tury. Jeanne holds the reins in her left hand and a drawn sword in 
her right ; she looks down at a fallen Englishman, who is almost under 
her horse's feet. Her expression indicates a certain human sympathy 
for the vanquished, but an unswerving determination to pursue her 
great aim. 

The statue by Rude, in the Louvre Museum, is a remarkable work 
which has been variously estimated by the critics. As in the cele- 
brated picture by Bastien-Lepage the Maid is supposed to be listening 
to the Voices which announce her mission. Her head inclined slightly 
to one side, her right hand raised to the ear and her nostrils dilated, 
she listens with rapt attention and seems to be striving intensely to 
catch the mysterious accents scarcely audible to mortal ears. With het 
left hand she seizes a helmet which rests on a breastplate, as though 


she were on the point of arming herself to obey the divine command. 

The figure of the Maid on the monument erected on the Place du 
Vieux-Marche at Rouen suggests, in attitude and bearing, rather an 
armed Minerva than the simple and earnest peasant girl of history ; 
at the same time the face is commonplace and expressionless. 

The very fact that none of the statues heretofore erected fully sat- 
isfies our ideal should be an incentive to the production of a better 
work, and in the City of New York the subject presents many diffi- 
culties, and requires the creation of a very complex type ; a blending of 
feminine and masculine characteristics, of idealistic and heroic quali- 
ties, of deep feeling and martial ardor. Let us hope that the artist 
who may be entrusted with the execution of this difficult task will be 
able to produce a work at once truly original and in accord with the 
best traditions. 

The statue by Chapu, exhibited in the Paris Salon of 1872 and now 
in the Luxembourg Museum, represents Jeanne kneeling with clasped 
hands, and gazing intently as though seeking to imprint upon her 
memory the celestial visions that appear to her. She is shown in 
peasant garb, and the noble simplicity of form and feature make this 
one of the most satisfactory representations of the Maid ever executed. 

See Gazette des Beaux Arts, 2d Ser., Vol. 6 (1872), p. 57. 

In the Revue Archeologique XI Auncc, II Partie (1854-5), plate 
257, fig. 4, is a representation of the old miniature painting by Poig- 
narre executed in 145 1. MS. in Bib. Nat. Small and quaint. 

An engraving of the ancient equestrian statuette of Jeanne d'Arc, 
now in Musee Cluny in Paris, is given on p. 13 of E. de Bouteiller's 
"Notes Iconographiques sur Jeanne Dare," p. 13. This is taken from 
the Gazette des Beati.v Arts, 1878, Ser. II, Vol. XVIII, p. 533. 
Bronze in the collection of M. Odiot. "La Pucele d'Orliens." 

"Jeanne Dare listening to the Voices," by Rude, executed in 1852. 
now in the Louvre, originally designed to be placed in the Luxembourg 
Gardens. For illustration see Gonse, "La Sculpture Frangaise," Paris, 
1895, p. 281. 

Small equest. statue by Princess Marie d'Orleans, in Gazette des 
Beaux Arts, 1898, 3d Ser., Vol. XIX, p. 439. 

Medal by Roty, Ibid. p. 440. 

The well-known and equestrian statue by Fremiet, in the Place des 
Pyramides, in Paris, illustrates the difficulty of combining in one type 
the manifold qualities requisite for a realization of our ideal of Jeanne 


d'Arc. Still we cannot deny that this work has great artistic merits 
and is very impressive. 

Illustration in Century for 1878, Vol. ii, p. 722. Also in Gonse, 
"La Sculpture frangaise," Paris, 1895, p. 295. 

For those of us who have been endeavoring during the past two 
years to further the project for the erection in New York City of a 
statue of the pure and sublime heroine, Jeanne d'Arc, it is most grati- 
fying to note the growing success of the movement to establish a 
national holiday in France in her honor, and the unanimity with which 
the members of the widely-divergent political parties in that country 
are working toward the attainment of this end. Here we can see 
the influence still exercised, after the lapse of five centuries, by a 
grand and noble personality, whose aims and motives during life were 
free from self-seeking and owed their origin solely to an exalted 
patriotism. It is this that has served to unite Radicals and Catholics 
in a common effort, for this movement enlists the sympathies of 
both in that it appeals to the general sentiment of patriotism which 
animates all Frenchmen, regardless of dififerences of religious or politi- 
cal faith. Hence it is that the directors of the political destinies of 
the great French Republic and the bishops and clergy of the Catholic 
Church in that country find here a high and common ground for 
united action. 

The recent celebration in Orleans on May 8th of the raising of 
the siege of that city by La Pucelle was marked with more than the 
usual ceremony, because in this year fell the five-hundredth anni- 
versary of Jeanne d'Arc's birth. The processions were very impressive 
and brilliant, and in one of the market-places a reproduction of the 
scene presented in a market of the olden time was offered, the stalls 
being arranged to represent as clearly as possible those of the early 
fifteenth century, and the costumes of the vendors and their assistants 
being also faithful copies of those worn in that period. 

Many of the heroic figures of history appeal only to those of their 
own nationality, but Jeanne d'Arc is dear to all true patriots the world 
over ; and she should be more especially dear to our American women, 
for this noble example of their sex gave the lie, nearly five hundred 
years ago, to the trite assertion that while woman may be tender and 
true, she cannot be fearless and courageous in the defense of the right. 
For all these reasons the project for a monument to Jeanne d'Arc in 
America is not merely the expression of an admiration for what is 


great and noble in the past, but also of the aspirations shared by a 
majority of American women. 

The history of a nation is a part of its very life, and only by 
looking backward to the beginnings of national life is it possible to 
rightly understand the significance of the present and to forecast 
the future. Even the mistakes made in the past have their educa- 
tional value, just as the errors of youth contain a valuable lesson 
for mature age ; hence it is impossible to exaggerate the importance 
of the study of a nation's history. Plowever, while the printed page 
speaks only to the intellect, the relics of the past and the spots 
whereon great events transpired exert a much more important in- 
fluence upon the mind and heart of the beholder. 

Let us consider the contemporaneous conditions and those who 
ruled European countries at the time of Joan of Arc. 

During the brilliant, but all-too-brief career of the peerless INIaid 
of Orleans, France owned as her legitimate, though not undisputed 
sovereign, Charles VII (1403-1461). Though his anointment and 
coronation as King of France did not take place until July 17, 1429, 
his reign is dated from 1422, the year of the death of his imbecile 
father, Charles VI (1368-1422), and also that of France's great enemy, 
Henry V (1387-1422). England, however, owned allegiance to the 
child-king Henry VI (1421-1471), the son of Henry V, who was but 
eight years of age when Jeanne raised the Siege of Orleans. ' The 
conduct of affairs was in the hands of his uncles, John, duke of 
Bedford, as Regent of France, and Humphrey, duke of Gloucester, 
as Protector of the realm of England. 

Though but a duchy, and theoretically at least, a feudatary of the 
French crown. Burgundy was at this time virtually independent, and 
her reigning sovereign, Philip the Good (1396-1467), the father of 
Charles the Bold, played a most important part in the drama of Jeanne's 
life as the friend of England and the enemy of France. Not long 
after her death, however, he changed his policy and joined his forces 
and interests with those of Charles VII. 

Though but indirectly interested in the stirring events transpiring 
in France, the German Emperor, Sigismund (1368- 1437), and the 
Duke of Austria, Albert V (d. 1439), Sigismund's son-in-law and suc- 
cessor in 1438 as emperor, undoubtedly kept themselves well informed 
as to the progress of the war. There is little cause to believe, however, 
that a very lively interest in the matter was felt by another con- 
temporary, Great Prince Vasili III (1425-1462), in far-away Moscow, 


where he was entirely engaged in consoHdating and augmenting Rus- 
sian power. Still less strong must have been the interest of the 
Grand Turk Murad II, who became sultan in 1421, and who fought 
unsuccessfully against Scanderbeg and Hunyadi. 

The Italy of the early part of the fifteenth century was so busy 
with its manifold internal dissensions that even such momentous events 
as the conquest of the greater part of France by the English and the 
subsequent freeing of her territory from foreign domination did not 
probably excite widespread interest. The Venetian Republic had just 
secured, by the Peace of Ferrara, in 1428, a large increase of territory 
gained in alliance with the Florentines. JMilan, then ruled by the 
Visconti, the States of the Church, administered by Pope Martin V 
(1417-1431) and Naples, were the most influential geographic unities 
of Italy at this time, outside of \''enice, Florence and Genoa. 

To aid in a better understanding of the collection, the following 
chronology may be useful : 

Jeanne d'Arc (or Jeanneton Dare) was born 
at Domremy, a village partly in Lorraine and 
partly in Champagne. According to the com- 
monly received chronology, the date of her 
birth was January 6, 1412. 

Late authorities do not venture to be so pre- 
cise, placing her birth somewhere between 1410 and 1412. 

Her father was Jacques d'Arc (or Jaqueton 
Dare), originally of Cefifonds in Champagne; her 
mother was Isabeau (Zabillat) Vouthon, this lat- 
ter name signifying the place of her birth, a village 
a league and a half from Domremy. She bore the 
surname Romee, probably because she had made 
a pilgrimage to Rome, or some other distant 

Jeanne had three brothers, Jacques (or 
Jacquenim), Jean and Pierre, and one sister, 

She first heard the "voices" when about thir- 
teen years of age in 1424 or 1425. 

On the first occasion she perceived a great 
light at her right and heard a voice addressing 
her. Later the figure of the Archangel Michael 
appeared to her and later still those of St. Cath- 


erine and St. ]\Iargaret, with whom she held fre- 
quent intercourse, more especially with St. 

Charles VI of France, surnamed the Bien- 
Aime, was born in Paris December 3, 136S. 

He ascended the throne on the death of his 
father, Charles V, on September 16, 1380. 

He became deranged when twenty-four years 
old in 1392- 

Charles VH, his son, surnamed later the Vic- 
torious, was born in Paris February 22, 1403. 

Henry V of England, son of Henry IV, was 
born at Monmouth in August, 1387. 

Battle of Agincourt and overwhelming defeat 
of the French on October 25, 1415. 

Treaty of Troyes, by the terms of which 
Henry V and his heirs were to succeed to the 
throne of France after the death of Charles VI, 
signed May 21, 1420. 

Flenry V married Catherine, daughter of 
Charles VI June 2, 1420. 

Flenry VI, son of Henry V and Catherine 
of France, was born at Windsor December 6, 1421. 

Henry V died at Bois-de-Vincennes August 31, 1422. 

Charles VI died in Paris October 21, 1422. 

Jeanne's first visit to Robert de Baudricourt 
to induce him to take her to the Dauphin (Charles 
A'll) was made in May, 1428. 

She was accompanied by her cousin by mar- 
riage, Durand Lassois. 

Siege laid by the English to Orleans October 12, 1428. 

"Battle of the Herrings," severe defeat of 
the French in a sortie from Orleans February 12, 1429. 

Jeanne's second visit to Robert de Baudricourt, 
captain of Vaucouleurs, in the course of which 
she persuades him to conduct her to the Dauphin. . February 13, 1429. 

Jeanne arrives at the court of the Dauphin 
in Chinon March 6, 1429. 

Letter addressed to the Regent Bedford 


commanding the English to leave the soil of 

France March 22,1429. 

Jeanne enters Orleans April 29, 1429. 

Defeat of the English before Orleans May/, 1429. 

Here Jean was wounded by an arrow between 
her neck and shoulder. 

Siege of Orleans raised May 8, 1429. 

Taking of Jargeau June 12, 1429. 

Taking of Beaugency June 17, 1429. 

Battle of Patay, crushing defeat of the Eng- 
lish. The old hero Talbot taken prisoner June 18, 1429. 

Troyes opens its gates to Jeanne and the 
Dauphin July 1 1, 1429. 

They enter Rouen July 16, 1429. 

Anointment and coronation of Charles VII in 
the Cathedral of Rheims July 17, 1429. 

During the ceremony Jeanne stood alongside 
of the king, holding her sacred banner. 

Unsuccessful attack by the French upon Paris, 
Jeanne wounded September 8, 1429. 

Taking of Saint-Pierre le Moustier, near 
Nevers, end of October, 1429. 

Jeanne lays siege to La Charite, but is forced 
to raise the siege toward the end of 1429. 

Jeanne and her family ennobled with the sur- 
name of du Lis December 29, 1429. 

Jeanne comes to the relief of Compiegne, then 
besieged by the English May 24, 1430. 

She is wounded and taken prisoner in a 
sortie on the same day May 24, 1430. 

She is delivered up to the English by John 
Duke of Luxembourg, who received a payment of 
10,000 francs from Pierre Cauchon, Bishop of 
Beauvais, their intermediary, in December, 1430. 

She is imprisoned in a tower (now de- 
molished) of the Chateau of Rouen December, 1430. 

The English give her up to the Inquisition for 
trial January 3, 1431. 

Her public examination in the royal chapel of 


the Chateau of Rouen began February 21, 1431. 

PubHcly accused as a heretic and witch March 20, 1431. 

Makes her submission to the church and is par- 
doned, but condemned to hfe imprisonment May 24, 1431. 

She was surrendered by the ecclesiastical au- 
thorities into the hands of the English, yielded to 
the temptation to reassume her male attire, which 
she had forsworn, and was considered to have 

Jeanne revokes her abjuration, and is con- 
demned as a relapsed heretic by Bishop Cauchon 
and a court of 48 assessors May 29, 1431. 

Burned at the stake in the market place of 
Rouen (Place du Vieux Marche) May 30, 1431. 

Sentence revoked by Pope Calixtus III after 
a review of the trial July 7, 1450. 

Appeal addressed to the Holy See for Jeanne's 
beatification by Monseigneur Dupanloup, Bishop 
of Orleans, in 1867. 

Proposal to enroll her among the saints sol- 
emnly approved by Pope Leo XIII January 27, 1894. 

Formal proposal for her canonization reg- 
istered in February, 1903. 

Declared Venerable by Pope Pius X on the 
Feast of the Epiphany (her birthday) January 6, 1904. 

Decree of Beatification promulgated by Pope 
Pius X April II, 1909. 

A Mass and Office of Blessed Joan extracted 
from the "Commune Virginum" have been ap- 
proved by the Holy See for use in the Diocese of 

Founding of the Joan of Arc Statue Com- 
mittee for a statue in the City of New York by 
George F. Kunz and J. Sanford Saltus December 4, 1909. 

sooth Anniversary of the birth of Joan of Arc January 6, 1912. 

Official opening of the Joan of Arc Statue 
Committee's exhibition at the American Numis- 
matic Society January 6, 1913. 

501st birthday January 6, 1913. 



Je viens de feuilleter une liste des ouvrages se rapportant a 
Jeanne d'Arc: gros volumes, brochures, articles de revues, poemes, 
drames et discours, prose et vers, ecrits dans presque toutes les 
langues de TEurope : en tout plus de deux mille titres. Le nom de 
la Pucelle d'Orleans est associe a Goliath, a Dieu, dans des titres 
comme : Dieu et la France, ou Jeanne d'Arc ; Jeanne d'Arc et Goliath. 
On a discute a I'infini sa mission, ses visions, son proces, sa prison, 
ses juges, son martyre, sa famille. On a fait un atlas de ses voyages 
et de ses expeditions militaires ; on a discute son sejour dans chacune 
des villes ou elle a passe, de sorte qu'il est maintenant possible de 
faire un pelerinage commengant a Domremy et se terminant sur la 
place du Vieux Marche de Rouen. D'aucuns ont affirme qu'elle etait 
lorraine, d'autres qu'elle etait champenoise ; d'autres enfin ont nie 
qu'elle fiit frangaise. Un erudit ambitieux a calcule ce que Jeanne 
d'Arc avait coiite a la France et a I'Angleterre. Et cette liste de 
deux mille titres est bien loin d'etre complete. Innombrables 
sont les pages, documents, livres, les productions de I'art, de I'esprit 
et du cceur, qui se rapportent a Jeanne d'Arc. II n'y a pas dans I'his- 
toire un seul homme, ayant disparu avant d'avoir complete sa 
dix-huitieme annee, qui soit aujourd'hui aussi vivant que cette jeune 

Si maintenant vous relisez une partie des pages de nos auteurs, 
inspirees par elle, il est une verite qui s'impose : les grands faits 
de I'histoire humaine, presentes avec le simple respect de la verite, 
I'emportent de beaucoup en interet sur les oeuvres de fiction, romans 
ou drames, bases sur ces memes faits, mais deformes par les imagi- 
nations les mieux intentionnees. L'histoire prend une place de plus en 
plus grande dans la litterature contemporaine, maintenant qu'elle a 
a sa disposition toutes les autres sciences, ses servantes, comme au 
moyen-age les sciences etaient les servantes de la theologie. Jamais 
cela n'a ete plus vrai que pour Jeanne d'Arc. M. Hanotaux, son 
dernier historien, s'en est rendu parfaitenment compte lorsqu'il a 

ecrit: "II faut que tout ecrivain, tout artiste, qui touche a uii tel 
sujet, appreiine a quel ridicule defiiiitif il s'expose, s'il s'eloigne de 
la simple et iiue verite." C'est precisement la ce qui fait la 
superiorite de I'Duvrage de 11. Anatole France, autre historian recent 
de Jeanne d'Arc, car il s'est borne a exposer, d'une main de maitre 
et avec un art consomme, les simples temoignages de rhistoire, c'est 
a dire des faits. 

II y a exactement un an, on fetait en France le cinquieme 
centenaire de la naissance de Jeanne d'Arc. Nous sommes aujour- 
d'hui temoins que la memoire de Jeanne n'est pas non plus oubliee 
en Amerique. Pour I'Americain comme pour le Frangais, le patrio- 
tisme n'est pas une affaire de race, mais I'amour pour I'ideal pur 
et genereux qui est au coeur de tous les vrais patriotes. Si La 
Rochefoucauld a dit que I'absence eteint les petites passions et 
accroit les grandes, on a aussi dit qu'il en est des gloires comme 
des passions : seules les toutes grandes gloires subsistent et 
s'accroissent : temoin la gloire de Jeanne d'Arc, qui n'a fait 
qu'augmenter avec le temps. II y a trois ans, Jeanne a ete mise au 
rang des bienheureuses, par les representants de la meme Eglise 
dont d'autres representants I'avaient autrefois condamnee a la mort 
infamante. Les catholiques frangais n'ont du reste pas attendu la 
beatification de Jeanne d'Arc pour la mettre sur leurs autels. 
Catholiques, protestants, juifs, Frangais de toutes les croyances, ne 
la venerent pas moins, et ne la venerent pas davantage non plus, 
maintenant que tardive justice lui a ete rendue. 

Comment expliquer I'interet que notre age temoigne pour tout ce 
qui se rapporte a Jeanne d'Arc ? C'est qu'a bien des egards elle est 
moderne. Par toute sa vie, elle affirme le droit de vivre libre sur 
le sol natal. Elle fait la guerre a I'envahisseur. Elle proclame 
la legitimite de la guerre de liberation, centre le droit de conquete, 
contre la guerre excitee par la convoitise malgre les tres nobles 
pretextes toujours invoques. On a dit que Jeanne personnifie 
le bon sens, le courage vif, la repartie prompte, le coup d'osil 
juste, la bonne humeur, toutes qualites cheres aux Frangais : AI. 
Hanotaux le reconnait, et il dit meme qu'il est inutile d'insister, tant 
cela lui semble evident. X'est-elle pas bonne, charitable, genereuse 
envers les pauvres pendant son enfance? Ne montre-t-elle pas 
toute sa vie de la sympathie pour le faible et pour le vaincu? Pen- 
dant sa periode de triomphe, Jeanne est decidee et prompte, sans 

hesitation et sans peur. Elle exerce sur les hommes iin veritable 
ascendant." Devant le triomphe momentane de ses ennemis, pen- 
dant son proces, au moment ou le danger s'affirme reel, elle garde sa 
presence d'esprit. Elle comprend et juge la situation. Elle em- 
barrasse ses juges, qui I'avaient condamnee d'avance, parce qu'elle 
ne leur fournit pas de bons pretextes a condamnation. Elle est 
maitresse de I'ironie, cette arme bien francaise. Un de ses juges 
lui demandait si les saintes qui lui parlaient s'exprimaient en fran- 
cais ; "Alieux que vous," repondit-elle a I'interrogateur qui avait 
fortement I'accent de sa province. A I'injustice elle oppose I'ironie 
mordante, qui affole ses juges, car dans I'enumeration de leurs griefs, 
ils n'oublient pas de I'incriminer dans les termes suivants : "Jeanne 
ne craint pas de parler sans respect des plus grands personnages , 
se permettant un ton de moquerie et de derision." En un mot, sa 
gaiete, sa vivacite, sa belle humeur, ne la desertent prescjue jamais. 
A cet ideal plutot male, Jeanne joint I'ideal le plus aime de la femme, 
la chastete et la pitie : chaste et pure, elle le fut ; il lui repugne 
aussi de \-erser le sang ennemi ; en vraie femme enfin, avec la 
pitie immense qu'elle a pour le roi et pour le peuple francais, elle 
ne se contente pas de regarder et de pleurer, mais elle se jette 
courageusement dans Taction. Quoi d'etonnant a ce que Jeanne 
ait ete veneree en France pendant des siecles? Quoi d'etonnant a 
ce que sa memoire soit veneree aujourd'hui, meme dans cette ville 
si eloignee du pays de sa naissance, oh nous esperons bientot voir 
un monument digne de I'idee que nous nous faisons de cette enfant 
pure ? 

Si Jeanne d'Arc est elle est encore si appreciee au XXe 
siecle, a d'autres egards elle appartient au moyen-age, et pour cela 
elle fera toujours appel aux imaginations religieuses. Comme le 
moyen-age, elle a la foi mystique et absolue. Pleine de confiance en 
sa mission, brrilant d'un amour intense pour son pays et pour le roi 
qui le symbolise, elle voulait parti au secours de la France, "im- 
patiente, nous dit un contemporain, comme une femme enceinte qui 
attend son accouchement." Elle a affirme sa mission, a converti beau- 
coup d'indififerents, y compris le roi de France ; elle I'a decide a agir, 
s'est mise elle-meme a la tete d'une armee, a rempli de confiance les 
soldats frangais et d'epouvante les soldats anglais ; elle a delivre 
Orleans et fait sacrer Charles VII, lui rendant ainsi I'appui moral 
de la majeure partie de ses sujets catholiques. 

Toute cette grande impulsion fut doniiee par la Pucelle, mais son 
intervention aurait pu etre reduite a neant, si Jeanne n'etait tombee 
au pouvoir des politiques anglais et bourguignons qui la condamnereiit 
a etre brOilee vive. Jugee par des politiques, condamnee par des 
politiques, du reste abandonnee par les politiques qui entouraient 
Charles VII, sa mort a complete son ceuvre. Transformee en martyr, 
Jeanne morte a ete plus grande et plus puissante que Jeanne vivante. 
En refusant de reconnaitre devant ses juges que la cause de Charles 
\^II n'etait pas la cause de la justice divine, elk a fait pour son 
pays le supreme sacrifice. On n'a pas eu tort de faire remarquer que 
Jeanne aussi a eu son Golgotha ; elle a eu'elle aussi'son moment de 
defaillance lorsqu'elle s'est ecriee, en apprenant qu'elle allait etre 
briilee : "Mon corps net et entier qui ne fut jamais corrompu sera 
consume et reduit en cendres. . " Mais apres cela Jeanne ne faiblit 
plus, et c'est la sa force. Un tel sacrifice ne pouvait etre inutile dans 
un pays ou, comme Lincoln en Amerique, les heros nationaux sont 
d'abord ceux ont peri en luttant dans une grande cause. 

Pour comprendre le prodige accompli par Jeanne d'Arc, il suffira 
de rappeler qu'au moment ou elle apparait sur la scene, la France est 
divisee, dechiree en deux grands partis. D'une part ce sont les par- 
tisans du jeune et indolent roi de France, Charles \^II. D'autre part 
les partisans du due de Bourgogne, un des grands princes feodaux, 
allie de pres par la naissance a la famille royale de France, allie par 
le mariage a la famille royale d'Angleterre. Comme presque tous 
les grands princes feodaux d'alors, le due de Bourgogne combattait 
pour son agrandissement personnel, aux depens du roi de France son 
suzerain. A cote de ces deux partis, comme le troisieme larron de 
la fable, le roi anglais qui voulait la succession a la couronne de 
France, en vertu du pretexte qu'il etait par les femmes I'heritier direct 
de Philippe le Bel. En theorie, deux rois pour la France, deux maris 
pour la meme femme, un de trop. En fait, I'anarchie : les Anglais 
occupaient plus de la moitie de la France, et Charles VII, qui avait 
perdu ses plus belles provinces, n'etait plus que le roi de Bourges. Au 
moment ou Jeanne parut, la France etait done dans une situation 
desesperee. Partout la guerre civile, la violence, le vol, le meurtre, 
le rapt, la misere physique et morale. Les misereux n'ont guere de 
patriotisme, et il y avait une indifference presque generale au triomphe 
ou a la defaite du parti national. 

Le patriotisme franqais date d'avant Jeanne d'Arc. Du jour ou 

la Chanson de Roland avait commence a faire couler les larmes des 
chatelaines en extase devant le troubadour et le trouvere, a la seule 
mention de "douce France," il existait dans le coeur des Frangais un 
sentiment profond pour le sol natal. Le patriotisme qui a commence 
avec I'amour du clocher et ramour de la terre, vous savez que nos 
populations francaises I'ont eu. L'amour de la famille, de la petite 
communaute qui vit atitour du clocher, a ete si profond qu'il s'est 
senti a letroit chez nous ; il a eu besoin de s'etendre en dehors des 
limites du village ; il s'est epanche sur tout le pays oi\ Ton entendait 
le doux parler de France. Puis pendant les jours de malheur amenes 
par la guerre de Cent Ans, comma consequence des haines politiques 
qui opposerent province a province, ville a ville, village a village, 
il s'est fait une reaction profonde. Le scepticisme fit place a I'en- 
thousiasme national, le doute a la foi. On se demanda si la France 
valait les sacrifices que Ton avait faits et les miseres que Ton endurait, 
C'est alors que parut Jeanne, qu'elle reveilla I'esprit national, par sa 
vie et surtout par sa mort, car I'idee de patrie avait un martyr de plus. 
Grace a Jeanne, la France a repris conscience d'elle-meme ; grace a elle, 
patrie est un element necessaire. Le patriotisme frangcais a atteint 
son unite nationale. 

' Jeanne a done eu sa part, sa grande part, dans la creation ou 
revolution du patriotisme moderne, de cet ideal genereux qui con- 
siste a s'attacher aux nobles idees que represente un pays et une 
civilisation, et tout en servant son pays a servir I'humanite dont la 
patrie est un element necessaire. Le patriotisme frangais a atteint 
une autre de ses plus sublimes expressions en 1789. La France 
d'alors, par sa soif de la liberte, qu'elle ne desirait pas pour elle-meme 
seulement, mais dont elle voulait doter les autres pays, inspire alors 
a un Allemand le plus grand compliment qu'un etranger puisse lui 
faire : "Tout homme a deux patries, celle de sa naissance et la 

Honneur done au pays qui a su inspirer un tel amour en dehors de 
ses frontieres ! Honneur a Jeanne d'Arc qui restera en France et a I'e- 
tranger le symbole du patriotisme le plus pur ! Honneur enfin aux 
citoyens libres de cette grande Republique Americaine qui ont eu 
I'initiativc de la genereuse entreprise en I'honneur de laquelle nous 
nous sommes reunis ce soir en si grand nombre ! 


I — Joan of Arc's Home. It was located in Domreni)-, France, and 
therein she was born. Modern photograph. 

2 — Joan of Arc Standing Outside Her Home in Domremy. After 
the painting by P. Carrier-Belleuse. 

3 — Home of Joan of Arc in Domremy. From a photograph. 

4 — Home of Joan of Arc ; exterior. From a photograph, 

5 — Home of Joan of Arc ; exterior. From a photograph. 

6 — Entrance to Joan of Arc's House. From a photograph. 

7 — Room in which Joan of Arc was born at Domremy, France, 
January 6, 1412. From a photograph. 

8 — Room in which Joan of Arc was born at Domremy, France, 
January 6, 1412. From a photograph. 

9 — The Vision of Joan of Arc. 1427. From the painting by J. E. 
Lenepveu, in the Pantheon. 

10 — Joan of Arc Listening to the Voices. After the painting by 

II — St. Michael the Archangel, Patron of France and Bearer of 
Directions from Heaven to Joan of Arc. After the painting 
by Raphael. 

12 — Joan of Arc Hearing Mysterious Voices. Fanciful picture. 

13 — An Angel Admonishes Joan of Arc to Liberate France by the 
Sword. From the painting by J. E. Lenepveu. 

14 — "Whither Goest Thou, Jeanne?" Engraving from the story of 
Joan of Arc by Marius Sepet. 

15 — Joan of Arc Praying. From the painting by P H. Flandrin. 


1 6 — Joan of Arc Receiving Holy Communion. After the painting 

by Maurice Denis. 

17 — Joan of Arc in Prayer. After a painting by P. Blanchard, in 
the Paris Salon of 191 1. 

18 — Blessing Joan of Arc's Flag. From the painting by Michel. 

19 — Blessing the Standard (flag) of Joan of Arc. After the paint- 
ing by Michel, 

20 — Joan of Arc Praying on Eve of Battle. 

21 — Joan of Arc Praying in the Church at Vaucouleurs. From a 
fanciful engraving. 

22 — Joan of Arc Receiving the Sword of St. Catherine. Engraving 
by Wale. 

23 — Joan of Arc at the Head of Her Troops. After the painting by 
J. L. Beuzon. 

24 — Joan of Arc Leaving Vaucouleurs. From the painting by J. J. 

25 — Joan of Arc Leaving Vaucouleurs by the Gate of France. 

Window in the church of Vaucouleurs, the work of the Cath- 
olic Institution. 

26 — Joan of Arc Holding Her Banner. Fanciful picture. 

27 — Joan of Arc Leaving Vaucouleurs. From the painting by J. E. 

28 — Joan of Arc Leading Troops to Battle. After the painting by 
J. L. Beuzon. 

29 — Joan of Arc Welcomed by the Crowds. From the painting by 
J. E. Lenepveu. 

30 — Ruins of the Hall of the Palace at Chinon, where Joan of Arc 
First Met Charles VII. Photograph. 

31 — Joan of Arc at the Palace of Chinon, Recognizing the Young 
King Charles VII Among the Officials. Bas-relief by Vital- 
Dubray, of the statue in the Place du Martroi, at Orleans. 

32 — Grand Hall of the Palace at Chinon. From the painting by P. 


From a fanciful engraving 

33 — Joan of Arc Addressing Charles VII., by Inspiration. En- 
graving by J- Galland from drawing by H. Singleton. 

34 — Joan of Arc Presented to Charles VII., in the Palace Hall at 
Chinon, February, 1429. Engraving by Aristide Cholet from 
the painting' by Papety. 

35 — Joan of Arc's Entrance into Orleans. After the painting by 

36 — Cathedral at Orleans, where Joan of Arc came to give thanks 
to God after the deliverance of Orleans. From a photograph. 

37 — Joan of Arc Charging the Enemy. From tlie painting by 
Jacques Courtois (called ''The Bourguignon"), in the Joan of 
Arc jNIuseum at Orleans. 

38 — House Occupied at Orleans by Joan of Arc. From a photo- 

39 — Joan of Arc Entering Orleans Victorious. From the painting 
by J. J. Scherrer. 

40 — Capture of the Fortress by Joan of Arc, May 7, 1429. From 
the painting by J. E. Lenepveu. 

41 — Joan of Arc at the Battle of Orleans. From the painting by 
P. Carrier-Belleuse. 

42 — Patay Battlefield; June 18, 1429, when Joan of Arc Gained 
the Great Victory. After the painting by P. Carrier-Belleuse. 

43 — The Cathedral of Rheims. From a photograph. 

44 — Coronation of King Charles VII., in the Cathedral of Rheims, 
July 17, 1429. Bas-relief by A'^ital-Dubray ; part of the statue 
in the Place du Martroi, at Orleans. 

45 — Joan of Arc Bearing Her Banner at the Coronation of King 
Charles VII., at Rheims, July 17, 1429. From the painting 
by Ingres, in the Museum of the Louvre. 

46 — The Coronation in Notre Dame Cathedral, Rheims, July 17, 
1429. After the painting by Bartolini. 

47 — Coronation of King Charles VII., of France, in the Cathedral 
of Rheims, July 17, 1429. From the mural painting in the 
Pantheon, by J. E. Lenepveu. 

27 . i 

48 — Joan of Arc Watched by an Angel During Her Sleep. From 
the painting by G. W. Joy. 

49 — Joan of Arc Holding Her Banner at the Coronation of Charles 
VII. After the painting by Ingres, in the Louvre Galler3^ 

50 — Coronation of Charles VII., in the Cathedral at Rheims, July 
17, 1429. After tlie painting' by Bartolini. 

51 — Coronation of Charles VII. After the mural painting in the 
Pantheon, by J. E. Lenepveu. 

52 — Coronation of Charles VII. Engraving by Joh. Demare, after 
the painting by Vinchon. 

53 — Rheims Cathedral, where Charles VII. of France was Anointed 
King, July 17, 1429. After the painting by P. Carrier- 

54 — Storming of Compiegne, May 24, 1430. From the painting by 
P. Carrier-Belleuse. 

55 — Cathedral of Notre Dame at Paris. From a photograph. 

56 — Joan of Arc is Wounded in the Thigh by a Dart from a Cross- 
bow, and Taken Prisoner by the Duke D'Alengon, in the 
Battle at Compiegne, May 24, 1430. Bas-relief by Vital- 
Dubray ; part of the statue in the Place du Martroi, at Orleans. 

57 — Joan of Arc, Surrounded by Soldiers at Compiegne, Defends 
Herself Bravely. From the painting by J. E. Lenepveu. 

58 — Parish Church of St. Jacques, at Compiegne. Engraved by 

59 — Cathedral of St. Gatien at Tours. Engraved by W. H. Capone 

from the drawing by T. Allom. 

60 — Joan of Arc in Paris at the Head of Her Army. From the 
painting by P. Carrier-Belleuse. 

61 — Joan of Arc a Prisoner, at Compiegne, on the evening of May 
24, 1430. From the painting by Patrois. 

62 — Tower of the Dungeon of the Chateau de Philippe-Auguste, 
at Rouen, wherein Joan of Arc Was Confined. From a 
modern photograph. 






63 — The Castle of Philip Augustus, wherein Joan of Arc Was Im- 
prisoned, Dec. 25, 1430, to May 31, 1431. Photograph of an 
old drawing. 

64 — Joan of Arc, Going to the Trial, Prostrates Herself Before 
the Holy Sacrament. Engraving by Marius Sepet. 

65 — Tower "Joan of Arc" at Rouen. Modern photograph. 

66 — Tower of Joan of Arc Remains Discovered in 1908. From a 

67 — Remains of the Tower Destroyed in 1809, Discovered in April, 

1908. From a photograph. 

68 — Joan' of Arc, in Prison at Rouen and Held in Chains, is 
Insulted by Her Jailers. Bas-relief by Vital-Dubray ; part of 
the statue in the Place du Martroi, at Orleans. 

69 — Cathedral of Rouen. Engraving Aus d. Kunstanst d. Bibl. Inst, 
in Hildbh. Eigenthum d. Verleger. 

70 — Last Communion of Joan of Arc. From the painting by Michel. 

71 — Joan of Arc Being Burned at Rouen, May 30, 1431. From the 
painting by J. E. Lenepveu, in the Pantheon. 

72 — Burning of Joan of Arc at Rouen. From the fresco in the 
Pantheon, by J. E. Lenepveu. 

73 — Cathedral of Rouen; commenced in 1202; towers erected in 
1487, and the facade in 1509; spires destroyed in 1514 and 
1822; reconstructed 1824. From a photograph. 

74 — Death of Joan of Arc, May 30, 1431. 

75 — Burning of Joan of Arc at Rouen, France, May 30, 1431. 

From the painting by Bartolini. 

76 — Burning of Joan of Arc at Rouen, May 30, 1431. From the 
painting by P. Carrier-Belleuse. 

77 — At the Instant Joan of Arc Died, Rouen, France, May 30, - 
1431, an English Soldier Beheld a White Dove Take FHght 
to Heaven. From the painting by J. E. Lenepveu. 

78 — Pronouncing the Panegyric at St. Peter's in Rome, April 19, 

1909. From a photograph of the scene. 


79 — Ceremony of Canonization, interior of St. Peter's, Rome, 
April 19, 1909. From a photograph. 

80 — Beatification of Joan of Arc. From a photograph. 

81 — Glorification of Joan of Arc. From the painting by Bartolini. 

82 — Chcmcel of St. Peter's on Day of Canonization. From a photo- 

83 — Audience at the Canonization in St. Peter's. From a photo- 

84 — Pope Pius X in Act of Canonization. From a photograph. 

85 — Mgr. Touchet Reading Discourse at the Canonization. From 
a photograph. 

86 — Pope Pius X Giving His Benediction. From a photograph. 

87 — Pope Pius X Blessing the Flag of France. From a photograph. 

88 — Joan of Arc Glorified. From the painting by Bartolini. 

8g — Scene Before St. Peter's on the Day of the Beatification. 

From a photograph. 

90 — Reading the Canonization Warrant, April 19, 1909. From a 

gi — Audience of Franciscans in St. Peter's. From a photograph. 

92 — Pontification by the Bishop of Orleans. From a photograph. 

93 — Discourse by Mgr. Touchet, in St. Peter's. From a photo- 

94 — Response by Pope Pius X. From a photograph. 

95 — Pope Pius X in Adoration, at St. Peter's. 

96 — Procession on Joan of Arc Day. From a photograph. 

97 — Pope Pius X. Pontiff of Canonization of Joan of Arc. 

98 — Pope Pius IX. During his pontificate the cause was introduced. 

99 — Pope Leo XIII. Under his pontificate Joan of Arc was declared 
to merit canonization. 





|l^^H& '"^*^H 





COUNT DE nuxots 


100 — Cardinal Ferrata. He sustained the cause of Joan of Arc at 

loi — R. P. Hertzog. He presented the cause of Joan of Arc at Rome. 

102 — Mgr. Touchet, Bishop of Orleans. He continued the cause of 
Joan of Arc with indefatigable zeal. 

103 — Mgr. Dupanloup. Inaugurator of plan to canonize Joan of Arc. 

104 — Cardinal Couillie. Successor to ^Igr. Dupanloup as Bishop of 

105 — Henry, Cardinal Beaufort, Bishop of Winchester. Was born 
in Beaufort Castle, Anjou; died at Winchester, Eng., April 
II, 1447. He was president of the court which sentenced 
Joan of Arc. Engraved by J. Parker, from original picture 
in the collection of Hon. Horace Walpole, Strawbery Hill. 

106 — John, Duke of Bedford. He was the third son of King Henry 
I\"., of England; born June 20, 1389; died at Rouen, Sept. 14, 
1435 ; was the English Regent for France at the time both 
Henry VI. and Charles VII. aspired to the throne. Engraved 
by Basan from the drawing by Vertue. 

107 — Philip, Duke of Burgundy, Le Bon (The Good) ; also called 
"le Hardi," "Philippe Le Hardy" and Filippo duca di Bor- 
gogna. He was born at Dijon, France, 1396; died at Bruges, 
1467. As Regent of France he signed the treaty of Troyes in 
1420, and was allied with England against Charles VII. An 

108 — Philippe le Hardy, Duke of Burgundy. Engraving by Droyer. 

log — Count de Dunois, John of Orleans, surnamed "The Bastard 
of Orleans. He was born at Paris, Kot. 23, 1402 ; died at St. 
Germain-en-Laye, near Paris, Nov. 24, 1468 ; natural son of 
Louis, Duke of Orleans, and Mariette d'Enghien ; defended 
Orleans, 1428-29; conquered Xormandy and Guienne from the 
English. Engraved by Gaillard, after the painting by F. W 

no — Duke of Burgundy, Count de Dunois. An engraving. 

Ill — John of Orleans, Premier Comte de Dunois. An engraving. 

112 — Bastard of Orleans, Dunois. Natural son of Louis, Duke of 
Orleans. Engraved by Harding from a portrait in Mont- 


113 — King Charles VI., of France. Surnamed "The Well-Beloved" 
(le Bien-Aime), was born at Paris, Dec. 3, 1368; died at 
Paris, Oct. 21, 1422: son of King Charles V.; reigned 1380- 
1422 ; being a minor at his accession, the regency was con- 
ducted by his uncles, the dukes of Anjou, Burgundy and 
Berry; assumed government in 1388; became deranged in 
1392, whereupon a dispute for power arose between the Duke 
of Burgundy and the King's brother, the Duke of Orleans, the 
former (who died in 1404) gaining. Jean, son of Duke of 
Burgundy, procured the murder of the Duke of Orleans in 
1407, and civil war resulting, Henry V. of England invaded 
France, defeating the French at Agincourt, Oct. 25, 1415, and 
supported by Queen Isabella, the Burgundians concluded a 
treaty with Henry Y., at Troyes, May 21, 1420, by which he 
was to be king of France on the death of King Charles VI. 
He married Isabella of Bavaria. Engraving from the collec- 
tion of ]Mons. da \'al. 

114 — Queen Isabella, of France. Isabeau de Baviere became the 
wife of King Charles \'I., and instead of favoring the cause of 
her son, Charles AIL, of France, espoused that of her grand- 
son. King Henry \T., of England. She was born in 1371 ; 
died in 1435. An engraving. 

115 — King Charles VI., of France. Engraving by Pannier. 

116 — Queen Isabella, of France. Engraving by Derly from a draw- 
ing by Deveria. 

117 — King Charles VI., of France. Engraving by Pinssio from a 
drawing by Boizot. 

118 — Queen Isabella, of France. Engraving by De Bee, in Rlezeray's 
"History of France." 

iig — King Charles VI., of France. Engraving by Jones from a 
drawing by Singleton. 

120 — Queen Isabella, of France. Engraving by Masson from a draw- 
ing by Philippoteux. 

121 — Hat of the Type Worn by Joan of Arc. Following an authetic 
contemporaneous description. 

122 — Joan of Arc. An old engraving. 

123 — Joan of Arc. From Kate D. Sweetser's "Ten Girls from His- 
tory," Duffield & Co. 













124 — Joan of Arc. Engraving by R. Page; pub'd by J. Robins & Co., 
London, 1821. 

125 — Joan of Arc. Engraving by Pollit, from painting by J. Ingres 
in 1846. 

126 — Joan of Arc. An engraving. 

127 — Joan of Arc. Engraving, J. M. Wright. 

128 — Joan of Arc. Engraving by S. Hollyer, after J. Champagne. 

129 — Joan of Arc. Engraving by Geoffrey from drawing by G. Staal. 

130 — Joan of Arc. Fanciful figure in armor. 

131 — Joan of Arc. Fanciful figure in armor. 

132 — Joan of Arc. Fanciful figure in armor. 

133 — Joan of Arc. Engraving by J. C. Buttre. 

134 — Joan of Arc. An engraving. 

135 — Joan of Arc. Engraving by S. S. Cowperthwait. 

136 — Joan of Arc. An engraving. 

137 — Joan of Arc. Engraving by W. Marshall. 

138 — Joan of Arc. Engraving by Hinchliff, after Lecurieux. 

139 — Joan of Arc. Engraving ,by Mackenzie from an original in 
the town of Orleans ; pub'd by T. Hurst, London, 1803. 

140 — Joan of Arc. Engraving, pub'd by Neele & Stockley, London. 

141 — Joan of Arc. Engraving by Mackenzie from an original draw- 
ing; pub'd by Vernor & Hood, in 1803. 

142 — Joan of Arc. An engraving. 

143 — Joan of Arc. Engraving by Bien. 

T44 — Joan of Arc. Engraving by M., London. 

145 — Joan of Arc. An old engraving. 

146 — Joan of Arc. Engraving by N. Le Mire, after an old painting 
in the Hotel de Ville at Orleans. 

147 — Joan of Arc. An old engraving. 


148 — ^Joan of Arc. Engraving by G. S. Gaucher. 

149 — Joan of Arc. Engraving by R. Cooper, from an old print by 

150 — ^Joan of Arc. Engraving by G. S. Gaucher. 

151 — Joan of Arc. Engraving by R. Delvaux. 

152. — Joan of Arc. An old engraving. 

153 — Joan of Arc. Engraving by Beisson. 

154 — Joan of Arc. Old engraving by B. Moncornet. 

155 — Joan of Arc. Engraving by W. N. Gardiner; pub'd by E. 
Harding, London, 1790. 

156 — ^Joan of Arc. Engraving pub'd by James Sindee, London, 1807. 

157 — ^Joan of Arc. Engraving by Schubert. 

158 — Joan of Arc. Engraving pub'd by Furne, Paris. 

159 — Joan of Arc. Engraving by Audibran; pub'd by Furne, Paris. 

160 — Joan of Arc. Engraving, Rosmaster, Dresden. 

161 — Joan of Arc. Engraving by J. Pass, after the picture by 

162 — Joan of Arc. Engraving by Mackenzie from original drawing. 

163 — Joan of Arc. Pencil drawing by Juliette Desgrany, 1868. 

164 — Joan of Arc. An old engraving. 

165 — Joan of Arc. Engraving by Colin after picture by Jules Uzanne. 

166 — King Henry VI, of England. He was born at Windsor, Eng., 
Dec. 6, 1421 ; died at London, May 21, 1471 ; reigned 1422-61 ; 
son of King Henry V and Catherine of France; succeeded to 
the throne at the age of 9 months, under protectorship of his 
uncle, John, Duke of Bedford, it being exercised by Bedford's 
brother, Humphrey, Duke of Gloucester, during Bedford's 
absence as regent in France; crowned King of France at 
Paris, Dec. 16, 1430, in accordance with the treaty of Troyes ; 
but by 1453 had lost all his possessions in France except 
Calais, in consequence of the successes of Joan of Arc. 
He married Margaret, daughter of Rene, titular King of 
Naples, and in 1453 was stricken with insanity. 


From engraving by P. Vanderbanck 

i67 — King Henry VI., of England. Engraving by P. Vanderbanck, 
after the picture by E. Lutterell. 

i68 — King Henry VI., of England. Engraving by Chambers. 

169 — King Henry VI., of England. Engraving by W. N. Gardner, 
after the picture by S. Harding. 

170 — King Henry VI., of England. Engraving by R. Sheppard. 

171 — King Henry VI., of England. Engraving pub'd by S. A. Oddy, 

172 — King Henry VI., of England. Engraved by Vertue. 

173 — King Henry VI., of England. Engraving by Rhodes; pub'd 
in 1803, by J. WalHs, London. 

174 — King Henry VI., of England. Engraved by J- Thornthwaite ; 
pub'd in 1788, by T. Cadell, London. 

175 — King Henry VI., of England. Engraving. 

176 — Kii^ Henry VI.,, of England. Engraving by J. Chapman; 
pub'd in 1799, London. 

177 — King Henry VI., of England. Old engraving. 

178 — King Henry VI., of England. Engraving' by G. Gabrielli, after 
his own drawing; pub'd in 1875, by Eton Williams & Son. 

179 — King Henry VI., of England. Engraving by A. W. Warren; 
pub'd in 1803, by J- Stratford, London. 

180 — King Henry VI., of England. Engraving from a painting on a 
panel at Kensington Palace. 

181 — King Henry VI., of England. Engraving by W. Ridley for C. 
Cooke, London, from the painting in Kensington Palace. 

182 — King Henry VI., of England. Engraving by B. Reading; pub'd 
in 1793, by T. Cadell, London. 

183 — King Henry VI., of England. Engraving by White in an old 
English book. 

184 — King Henry VI., of England. Engraving' from an old book 
printed in England. 


i85 — King Henry VI., of England. Engraving pub'd in 1801, by 
Edward Harding, London. 

186 — King Henry VI., of England. Engraving from an old book. 

187 — King Henry VI., of England. Engraving from an old book. 

188 — King Henry VI., of England. Engraving by Rogers, from a 
drawing by Vertue. 

189 — King Henry VI., of England. Engraving from a very old book. 

190 — King Charles VII., of France. Surnamed "The A'^ictorious'' 
(le Victorieux), son of King Charles VI., was born at Paris, 
Feb. 22, 1403 ; died at Mehun-sur-Yevre, near Bourges, 
France, July 22, 1461 ; reigned 1422-61. On his accession he 
found a rival in Henry VI., of England, who claimed the 
crown by virtue of the treaty of Troyes. The Eng'lish were 
masters of the entire country north of the Loire, including the 
capital, and in 1428 invested Orleans, which was delivered by 
Joan of Arc in 1429. He was crowned at Rheims, France, on 
July 17, 1429, and entered Paris in 1436. He married Marie 
d'Anjou, and his mistress was Agnes Sorel. 

igi — King Charles VII., of France. Engraving from an old history. 

192 — King Charles VII., of France. Engraving from an old book. 

193 — King Charles VII., of France. Engraving from an old book. 

194 — King Charles VII., of France. Engraving from an old book. 

195 — King Charles VII., of France. Engraving from an old book. 

196 — King Charles VII., of France. Engraving from an old book. 

197 — King Charles VII., of France. Engraving from an old book. 

198 — King Charles VII., of France. Engraving from an old book. 

199 — King Charles VII., of France. Engraving' by P. Thomson after 
the drawing by Boizot. 

200 — King Charles VII., of France. Engraving published in 1805, 
by J. Wilkes, London. 

201 — King Charles VII., of France. Engraving by Pinssio, from the 
drawing by Boust. 

202 — King Charles VII., of France. An old engraving. 


From engraving in an old historj' 

203 — King Charles VII., of France. Engraving by B. Moncornet. 

204 — King Charles VII., of France. Engraving from the collection 
of Clement Gressier, Paris. 

205 — King Charles VII., of France. Engraving from La Veu Hu- 
rand, Paris. 

206 — King Charles VII., of France. Engraving by B. L. Prevost 
from the drawing by C. N. Cochin's son. 

207 — King Charles VII., of France. An old engraving'. 

208 — Due d'Anjou, Father of Marie d'Anjou, the wife of King 
Charles VII. An old engraving. 

2og — King Charles VII., of France. An old engraving. 

210 — Duchesse d'Anjou. Mother of Marie d'Anjou, the wife of 
King Charles VII. An old engraving. 

211 — King Charles VII., of France. Engraving by Pannier. 

212 — King Charles VII., of France. Engraving by Charles Witt- 

213 — King Charles VII., of France. Engraving by Marcenay, from 
portrait owned by Marquis de Brancas. 

214 — Marie d'Anjou, Queen of France; wife of Charles VII. An old 


215 — King Charles VII., of France. Engraving by Le Maitre after 
the drawing by Vernier. 

216 — Marie d'Anjou, Queen of France; wife of Charles VII. An 

old engraving. 

217 — Agnes Sorel. She was the favorite mistress of King Charles 
VII., of France; born at Fromentau-Touraine, about 1409; 
died near Jumigny, Feb. 9, 1450; was brought up with Isa- 
bella, the wife of Rene d'Anjou ; her influence over the King 
was generally beneficial. Engraving from an ancient portrait. 

218 — Agnes Sorel. Engraving by Swebach after the painting by 
Mme. Colin. 

219 — Agnes Sorel. Engraving from "Vieux Chateaux de France." 


220 — Agnes Sorel. Engraving by C. T. Riedel after the drawing by 
A. Desenne. 

221 — Agnes Sorel. Engraving by Metzmacher, 1868. 

222 — Agnes Sorel. Engraving by Cazenave. 

223 — Agnes Sorel. Engraving by Lovichon after the drawing by 

224 — Agnes Sorel. Engraving by Bein. 

225 — Agnes Sorel. Engraving by A. Schultheiss after the drawing 

by Fr. Pecht. 

226 — Joan of Arc Leading a Charge. By De Monvel. 

227 — Joan Imploring Divine Aid. By De Monvel. 

228 — Joan Guided by Inspiration. By De Monvel. 

229 — Joan, the Shepherdess of Domremy. By De Monvel. 

230 — Joan's Inspiration at Her Home. By De Monvel. 

231 — Joan Ponders on Her Course. By De Monvel. 

232 — Joan Seeks Assistance in Her Cause. By De Monvel. 

233 — Joan Leaving Vaucouleurs for Chinon. By De Monvel. 

234 — Joan on the Journey to Chinon. By De Monvel. 

235 — Joan Points Out Charles VII. By De Monvel. 

236 — Joan Questioned by the Court Sages. By De Monvel. 

237 — Joan's Army Proceeds to Orleans. By De Monvel. 

238 — Joan's Army Crossing the Loire at Checy. By De Monvel. 

239 — Joan Entering Orleans at Night. By De Monvel. 

240 — ^Joan Wished to Pray Before Attacking. By De Monvel. 

241 — Joan's Army Awaits Assistance. By De Monvel. 

242 — Joan's Army Repeatedly Repulsed. By De Monvel. 

243 — Joan Rallied Her Men in the Crisis. By De Monvel. 


From an engraving by Metzmacher, i8 

244 — Joan Weeps on Beholding the Slain. By De Monvel. 

245 — Joan Argues Before the Council. By De Monvel. 

246 — Joan Takes the Bastion of Augustinians. By De Monvel. 

247 — Joan Refuses to Fight on Sunday. By De Monvel. 

248 — Joan Describes the Victory to Charles VII. By De Monvel. 

249 — Joan Occupies Jargeau, June 11, 1429. By De Monville. 

250 — Joan Fights the English at Patay. By De Monvel. 

251 — Joan Conquers the English, June 18, 1429. By De Monvel. 

252 — Joan Prays with the Dying Soldiers. By De Monvel. 

253 — Joan Forces Them to Give Back Prisoners. By De Monvel. 

254 — Joan Attends Coronation of Charles VII. By De Monvel. 

255 — Joan Kneels Before the King. By De Monvel. 

256 — Joan Cordially Welcomed by Populace. By De Monvel. 

257 — Joan Wounded by a Crossbow Dart. By De Monvel. 

258 — Joan Leaves Her Armor on the Altar. By De Monvel. 

259 — Joan is Discouraged by Inactivity. By De Monvel. 

260 — Joan Goes to Defense of Compiegne. By De Monvel. 

261 — Joan is Captured at Compiegne. By De Monvel. 

262 — Joan Brought Before Duke of Burgundy. By De Monvel. 

263 — Joan Escapes ; but Falls from the Wall. By De Monvel. 

264 — Joan is Maltreated in the Rouen Dungeon. By De Monvel. 

265 — Joan Prays for Deliverance in Captivity. By De Monvel. 

266 — Joan Attacked by Earl of Stafford. By De Monvel. 

267 — Joan is Regarded as a Heretic. By De Monvel. 

268 — Joan Tried by the English Bishops. By De Monvel. 

269 — Joan Answers Her Accusers. By De Monvel. 


270 — Joan is Led Away to be Put to Death. By De Monvel. 

271 — Joan Burned to Death at the Stake. By De Monvel. 

272 — The Call of Joan of Arc. By A. Chevallier Tayler, 1908. 

273 — Burning of Joan of Arc. By A. Chevallier Tayler, 1908. 

274 — Vigil of Joan of Arc. By A. Chevallier Tayler, 1908. 

275 — The Maid Leading Her Troops. By A. Chevallier Tayler, 1908. 

276 — Joan of Arc in Prison. By A. Chevallier Tayler, 1908. 

277 — Trial of Joan of Arc. By A. Chevallier Tayler, 1908. 

2'/ 8 — Joan of Arc, the Shepherdess. Colored print. 

279 — Joan Going to Meet the King at Chinon. Colored print. 

280 — Joan of Arc at the Court of Charles VII. Colored print. 

281 — Joan of Arc Approaching Orleans. Colored print. 

282 — Joan of Arc Attacking Orleans. Colored print. 

283 — Joan of Arc Routing the English. Colored print. 

284 — Joan of Arc Received by the King. Colored print. 

285 — Joan of Arc at the Coronation. Colored print. 

286 — Battle of Patay. Colored print. 

287 — Burning of Joan of Arc. Colored print. 

288 — Joan of Arc Beatified. Colored print. 

289 — Joan of Arc Statue. Erected at Bonsecours, France. Sculptor : 

ago — Joan of Arc Statue. Erected in the Luxembourg, Paris. Sculp- 
tor : Cordonnier. 

291 — ^JocUi of Arc Statue. Erected in the Museum at Versailles. 
Sculptor: Princess Marie of Orleans. 

292 — Joan of Arc Statue. Erected in the Louvre, Paris. Sculptor: 


After the painting by Bartolini 

293 — Joan of Arc Statue. Erected at Orleans. Sculptor : Princess 
Marie of Orleans. 

294 — Joan of Arc Statue. Erected in the Luxembourg, Paris. Sculp- 
tor : Albert Lefeuvre. 

295 — Joan of Arc Statue. Erected in the Luxembourg, Paris. Sculp- 
tor : Fremiet. 

296 — Joan of Arc Statue. Erected in the Paris Salon, 1910. Sculp- 
tor : Ray Rivoire. 

297 — Joan of Arc Statue. Erected in the Luxembourg, Paris. Sculp- 
tor : Chapu. 

298 — Joan of Arc Statue. Erected in the Cathedral of Rheims. 
Sculptor : Prosper d'Epinay. 

299 — Joan of Arc Statue. Sculptor : De Marcilly. 

300 — Joan of Arc Statue. Erected in Paris. Sculptor : Bourgouin. 

301 — Joan of Arc Statue. Erected in Church of St. Augustin and 
Notre Dame de la Gare, Paris. Sculptor : Jules Dechin. 

302 — Joan of Arc Statue. Erected before St. Denis Church, Paris. 

303 — Joan of Arc Statue. Erected in Church of the Madeleine, Paris. 
Sculptor : Raoul Larche. 

304 — Joan of Arc Statue. Sculptor : R. De Meurville. 

305 — Joan of Arc Statue. Sculptor : Raoul Larche. 

306 — Joan of Arc Statue. Sculptor ; Charles Desvergnes. 

307 — Joan of Arc Statue. Erected at Compiegne, France. 

308 — Joan of Arc Statue. Sculptor : Charles Desvergnes. 

309 — Joan of Arc Statue. Sculptor : A. Vermare. 

310 — Joan of Arc Statue. Sculptor: Emile Chatrousse. 

311 — Joan of Arc Statue. Banner of Joan Decorating the Statue of 
the Virgin in Notre Dame, Paris. 

312 — Joan of Arc Statue. Sculptor: Mercie. 

313 — Joan of Arc Equestrian Statue. Erected in the Pantheon, 
Paris. Sculptor: Paul Dubois. 


314 — Joan of Arc Equestrian Statue. Shown in the Salon des 
Artistes Frangais, 1910. Sculptor : Anna V. Hyatt. 

315 — Joan of Arc Equestrian Statue. Erected in Place des Pyra- 
mides, Paris. Sculptor : E. Fremiet. 

316 — Joan of Arc Equestrian Statue. Erected in Philadelphia, Pa. 

317 — Joan of Arc Equestrian Statue. Erected in Lafayette Square, 
Nancy, France. Sculptor: E. Fremiet. 

318 — Joan of Arc Equestrian Statue. Shown in the Salon of 1910, 
Paris. Sculptor : Anna V. Hyatt. 

319 — Joan of Arc Equestrian Statue. Erected at Orleans. Sculptor: 

320 — Joan of Arc Equestrian Statue. Bas-relief on the statue in the 
Place du Martroi, Orleans, showing her capture. Sculptor: 

321 — Joaii of Arc Equestrian Statue. Bas-relief on the statue in the 
Place du Martroi, Orleans, showing her departure. Sculptor : 

322 — Joan of Arc Equestrian Statue. Bas-relief on the statue in the 
Place du Martroi, Orleans, showing her entering that city. 
Sculptor : Vital-Dubray. 

323 — Joan of Arc Equestrian Statue. Erected in the Place du Mar- 
troi, Orleans. Sculptor: Foyatier. 

324 — ^Joan of Arc Equestrian Statue. Shown in the Paris Salon of 

325 — Joan of Arc Equestrian Statue. Erected at Paris, in the Place 
des Pyramides. Sculptor: E. Fremiet. 

326 ^Joan of Arc Equestrian Statue. Erected in the Place des Pyra- 
mides, Paris. Sculptor: E. Fremiet. 

327 ^Joan of Arc Equestrian Statue. Erected in the garden of the 

old bishopric at Orleans. Sculptor: Level. 

,28 ^Joan of Arc Equestrian Statue. Erected in the Place du Mar- 
troi, Orleans. Sculptor: Foyatier. 

,29 Joan of Arc Equestrian Statue. Erected at Vaucouleurs. 



By E. Fremiet, shown at Paris Salon, i8 

330 — Joan of Arc Equestrian Statue. Erected on summit of Ballon 
d'Alsace, in environs of Semur. 

331 — Joan of Arc Equestrian Statue. Shown in the Paris Salon, 
1910. Sculptor: Anna V. Hyatt. 

332 — Joan of Arc Equestrian Statue. Erected at Chinon, France. 
Sculptor : J. Roulleau. 

333 — Joan of Arc Equestrian Statue. Erected in the Cluny Museum. 

334 — Joan of Arc Equestrian Statue. Erected in the Pantheon, Paris. 
Sculptor : Paul Dubois. 

335 — Joan of Arc Equestrian Statue. Shown at the Paris Salon, 
1889. Sculptor: E. Fremiet. 

336 — Joan of Arc Equestrian Statue. Erected in the Place des Pyra- 
mides, Paris. Sculptor: E. Fremiet. 

337 — Joan of Arc Equestrian Statue. Erected in the Place des Pyra- 
mides, Paris. Sculptor : E. Fremiet. 

338 — Joan of Arc Equestrian Statue. Erected in the Pantheon, Paris. 
Sculptor : Paul Dubois. 

339 — Joan of Arc Equestrian Statue. Erected in the Pantheon, Paris. 
Sculptor : Paul Dubois. 

340 — Two Angels Bearing a Shield. Hanotaux print. From "La 
Mer des Hystoires" ; studio of Pierre Le Rouge, 1487. 

341 — "La Pucelle a Cheval." Hanotaux print. The Maid of Orleans 
on horseback ; from "La Hysteria de la Ponzella de Francia," 
a Spanish pamphlet dated 1562; Burgos, P. de Junta. In this 
engraving Jeanne is seen using a curved weapon ; such curved 
swords were in use from the time of the Crusades and were 
called "Turkish weapons." Dunois is also represented with a 
sword of this kind in the "Recueil de Thevet." 

342 — Interior of Cottage "The House of Rest." Hanotaux print. 
From "Le Chasteau de Labour," by Pierre Gringore, published 
in 1499, by Philippe Pigouchet. 

343 — A Bavarian Princess. Hanotaux print. From "Die Cronycke 
van Hollandt, Zeelandt. Bourgongen." These wood cuts are 
partly taken from the Nuremberg Chronicle and from other 
earlier ones. 


344 — Legend of St. Catherine. Hanotaux print. From "La Legende 
doree," printed in French by Ant. Verard, in 1496. 

345 — The Arrival of the Messenger. Hanotaux print. From "La 
Belle de Vienne" ; Anvers ; G. Leu ; 1487. 

346 — Interview in the Court of a Chateau. Hanotaux print. From 
"Chronique de HoUande." 

347 — La Pucelle Kneeling Before Charles VII. Hanotaux print. 
From "Vigilles de Charles VH. ; edit. Le Caron, Paris ; no 
date ; XV Century. 

348 — How Siege Was Laid to Orleans by the English. Hanotaux 
print. From "Vigilles de Charles VII"; Johan du Pre, 1493. 

349 — Battle on a Plain — Knights, Pikemen and Harquebusiers. 

Hanotaux print. From "Chronique de Hollande." 

350 — Combatant Wounded in the Breast. Hanotaux print. From 
"Bertrand du Guesclin; Lyon; G. Le Roy. 

351 — Bertrand du Guesclin. Hanotaux print. His portrait from 
"Bertrand du Guesclin." 

352 — Outworks of the City of Orleans. Hanotaux print. Drawn 
from an ancient plan. 

353 — Combat of Cavalry. Hanotaux print. From "Histoire de la 
Destruction de Troye la Grande"; printed for Jacques Milet; 

354 How the Christian King Charles VII. Went to be Crowned 

at Rheims in Spite of All Impediments. Hanotaux print. 
From the "Grandes Chroniques de France"; Paris; Regnault. 

ore Coronation of the King of France at Rheims. Hanotaux print. 

From "Chroniques de France," printed for Ant. Verard in 


ocS The Great Pardon of Our Lady of Rheims. Hanotaux print. 

From a broadside printed in 1482, for Jehan du Pre. 

„c7 Siege of the City. Hanotaux print. From "Chronique de Hol- 

'*'" lande." 

35&— Cavalcade. Hanotaux print. From "Vigilles de Charles VII. ; 
ed. Le Caron. 


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By Chapu, in the Luxembourg, Paris 

359 — Arms of France Borne by Two Angels. Hanotaux print. 
From "Grandes Chroniques," last page. 

360 — Lancelot and La Hire. Hanotaux print. Drawn by R. Favier 
from design on very old playing-cards. 

361 — La Pucelle. Hanotaux print. From design on one of a pack of 
playing-cards of XVth Century, belonging to the Musee 

362 — Jeanne d'Arc Spinning at Her Father's Side. Hanotaux print. 
From "Vigilles de Charles VH." ; Paris; Jehan du Pre; 1493. 

363 — Hermit. Hanotaux print. From "Chronique de Hollande." 

364 — The Blessed Virgin. Hanotaux print. From "Histoire du 
Chevalier Oben; printed for Guilleume Le Roy, at Lyons, in 

365 — Pilgrimage. Hanotaux print. From "Les Heures a I'usage 
d'Amiens" ; printed for Ph. Pigouchet ; end of XVth Century. 

366 — Annunciation. Hanotaux print. From "Miroir de Redemp- 
tion"; Bale; Richel ; 1478. 

367 — Our Lady of Pity. Hanotaux print. From drawing by R. 
Favier of original in Musee du Puy. 

368 — Blessed Virgin of the Minor Friars. Hanotaux print. From 
"Dialogo de la Salute"; Ancona; 1527. 

369 — Prayer to the Virgin in an Orchard. Hanotaux print. From 
Heures a I'usage de Romme" ; by Jehan du Pre ; 1488. 

370 — God in His Majesty. Hanotaux print. From the "Missel de 
Paris" ; Simon Vostre ; 1497. 

371 — Venice. Hanotaux print. From "Bergomensis Jacobus Philip- 
pus Supplementum chronicorum." 

372 — St. Bernardino of Siena Preaching. Hanotaux print. B^rom 
"Fra Roberto Caracciolo Prediche"; 1517. 

373 — The Minor Friar. Hanotaux print. From "Speculum fratrum 
minorum," in "Officina magistri Karoli, 1524. 

374 — The King Upon His Throne. Hanotaux print. From "O 
gidius Romanus [Columna] Regimiento de principes" ; trans- 
lated by Don Bernardo, Bishop of Osma; Seville, 1494. 


375 — Courrier Delivering Letter. Hanotaux print. From "Chro- 
nique de Hollande" (at the end). 

3y6 — King of France Holding Court. Hanotaux print. From 
"Grandes Chroniques" ; ed. Regnault. 

377 — King of France at a "Bed of Justice," Surrounded by His 
Councillors. Hanotaux print. From "La Somme rurale de 
Boutheillier; Jehan du Pre; i486. 

378 — La Pucelle with Hood and Long Dress. Hanotaux print. 
After "Vigilles de Charles \''n" ; ed. Le Caron. 

379 — A Quiet Place for Knights to Meet. Hanotaux print. From 
"Rappresentazione di San Eustacio" ; Florence, 1571. 

380 — A Woman Riding on Horseback Accompanied by Squires. 

Hanotaux print. From "Von eines Konigs, tochter von Frank- 
rich," Strasbourg, Gruninger; 1500. 

381 — Joan of Arc on Horseback. Hanotaux print. From the "Mer 
des Hystoires" ; edit, by Claude Davost ; Lyon. 

382 — Read Your Book. Hanotaux print. From "Chronique de Hol- 
lande," at the end. 

383 — Martyrdom of St. Margaret. Hanotaux print. From Kris- 
teller's "Early Florentine Woodcuts" ; London ; 1897. 

384 — Prophecy of the Venerable Bede, the Sybil. Hanotaux print. 
From "Profetie di varii profeti et Sibille," Florence ; begin- 
ning of the XVIth Century ; Essling. 

385 — How La Pucelle Approached the King. Hanotaux print. 
From Vigilles des Charles VH" ; edit. Jehan du Pre. 

386 — Crown, Globe and Sceptre. Hanotaux print. P>om "Chronique 
de Hollande." 

387 — The King in Prayer. Hanotaux print. From "Le Livre des 
Bonnes Moeurs"; compiled by Brother Jacques de Grant; 
studio of Caillaut; 1487. 

388 — Siege of a City, Use of Artillery. Hanotaux print. From 
Lirers Chronik. 

389 — Charlemagne, St. Louis and St. Remi. Hanotaux print. From 
"Grandes Chroniques de France." 


Statue by Paul Dubois erected in Paris 

390 — St. Margaret. Hanotaux print. From "Legende des Saints de 
Voragine" ; Lyon ; M. Htiss. 

391 — A Pope. Hanotaux print. From "Sermones Sancti Augustini" ; 
edit. Gering & Renbolt; in the "Soleil d'Or ; 1498." 

392 — St. Anthony of Florence. Hanotaux print. From "Tratatto 
vulgare di Frate Antono Arcivescoco" ; Florence ; 1496. 

393 — The Church Militant and the Church Triumphant. Hanotaux 
print. From "Chronique de Hollande." 

394 — Consecration of the King at Rheims. Hanotaux print. From 
"Chroniques de France" ; printed for Ant. Verard; 1492. 

395 — The Lords of the Earth Slaughter One Another. Hanotaux 
print. From "Chronique de Hollande." 

396 — Taking of Constantinople. Hanotaux print. From "Chronique 
de Hollande." 

397 — Death of King Charles VI. Hanotaux print. From "Vigilles 
de Charles VH." ; J. Du Pre. 

398 — Death on Horseback Drives Priests and Nobles to Annihila- 
tion. Hanotaux print. 

399 — The Feudal Castle. Hanotaux print. From "Chronique de 

400 — St. Michael. Hanotaux print. From Legende des Saints'' ; J. 
de Voragine ; Lyon ; M. Huss. 

401 — Siege of Paris by King of France. Hanotaux print. From 
"Grandes Chroniques." 

402 — Celestial Phenomena. Hanotaux print. From "Chronique de 

403 — Celestial Vengeance. Hanotaux print. From "Chronique de 

404 — Charles VII. Hanotaux print. By Jean Fouquet; sketched by 
R. Favier. 

405 — Charles VII. Lying Between "Intelligence" and "Melancholy." 

Hanotaux print. From "Diets et Ballades de M. Alain Char- 
tier" ; about 1489. 


4o6 — Philip of Burgundy. Hanotaux print. From the bust in the 
gallery of the Prince of Wurtemberg. 

407 — Philip the Good, Duke of Burgundy. Hanotaux print. From 
"Chronique de Hollande." 

408 — Courtiers Conversing. Hanotaux print. From "Chronique de 

409 — Richemont's Portrait. Hanotaux print. After Gaignieres ; 1458. 

410 — Jean VI., Duke of Brittany. Hanotaux print. After a water- 
color of the cabinet des Est. ; sketched by R. Favier. 

411. — A Councillor of the Duke of Burgundy. Hanotaux print. 
From "Chronique de Hollande." 

412 — Duke of Burgundy Surrounded by His Councillors. Hanotaux 
print. From "Die Burgundische Flistorie" ; Strasbourg ; 1477. 

413 — Blazon of France and Burgundy. Hanotaux print. From 
"Chronique de Flollande." 

414 — Jean Gerson. Hanotaux print. After the engraving of the 
Cabinet des Estampes ; sketched by R. Favier. 

415 — Battle. Hanotaux print. From Bertrand du Guesclin. 

416 — The Messenger. Hanotau.x print. From "Chronique de Hol- 

417 — A Burgundian Prince. Flanotaux print. By Lucas de Leyde, 
From "Chronique de Hollande." 

418 — Coat of Arms of Burgundy. Hanotaux print. From "Chronique 
de Hollande." 

419 — Tournament at the Court of Burgundy, lianotaux print. From 
"Chronique de Hollande." 

420 — Festivals at the Court of Burgundy. Hanotaux print. From 
"Chronique de Hollande." 

421 — Council in the Royal Camp. Hanotaux print. From "Vigilles 
de Charles VH." ; ed. Le Caron. 

422 — Regnault de Chartres. Hanotaux print. After a portrait in the 
Cabinet des Estampes ; sketched by R. Favier. 


Statue before the Church St. Denis, Paris 

423 — Arms of France Supported by Two Angels. Hanotaux print. 
From "Grandes Chroniques de France." 

424 — Court Banquet. Hanotaux print. From "La Belle Mague- 
lonne" ; printed for GuilLaume Le Roy ; Lyon ; before 1480. 

425 — Knights on the March. Hanotaux print. From "Chronique de 

426 — Plan of Compiegne. Hanotaux print. From a document pre- 
served in the Depot des cartes et plans a la Bibliotheque Na- 

427 — Battle before a Stronghold. Hanotaux print. From "Chronique 
de Hollande." 

428 — Blessed Virgin. Hanotaux print. From "Chronique de Hol- 

429 — How the English Brought La Pucelle to Rouen and Did Her 
to Death. Hanotaux print. From "Vigilles de Charles VH." ; 
printed in Paris for Jehan du Pre, 1492. 

430 — Bishop and Pope. Hanotaux print. From "Sermons de S. 
Augustin" ; printed for Gering & Renbolt, 1498. 

431 — Pope and Cardinals. Hanotaux print. From "Gragorii Home- 
Ha" ; Venice, 1504. 

432 — Tower of Veux Chateau in which La Pucelle was Imprisoned. 

Hanotaux print. From "Livre des Fontaines," 1525; after 

433 — Combat of Cavalry Against Infantry. Hanotaux print. From 
"Lirers Chronik." 

434 — Taking of Rouen by the English. Hanotaux print. From 
"Vigilles de Charles VH." ; ed. Jehan du Pre. 

435 — Duke of Bedford. Hanotaux print. Sketched by R. Favier from 
a print in the Cabinet des Estampes; Bibliotheque Nationale. 

436 — Deliberation of the English Council. Hanotaux print. From 
"Bertrand du Guesclin." 

437 — Rouen, a City of Murder and Treason. Hanotaux print. From 
"Chronique de Hollande." 

438 — The Leopards of England. Hanotaux print. From "Lirers 


439 — Shield of France, the Arms of the City and University of 
Paris. Hanotaux print. Mark of Jean Bocard, book.seller of 

440 — A Doctor. Hanotaux print. From "Sermons de S. Augustin," 

441 — Bishop Pierre Cauchon's Coat-of-Arms. Hanotaux print. 
After Sarrazin. 

442 — Bishop Pierre Cauchon's Tombstone. Hanotaux print. From 
Bibliotheque Nationale des Estampes, Gaignieres. 

443 — A Bishop. Hanotaux print. By Lucas of Leyden, from 
"Chronique de Hollande." 

444 — An Abbe. Hanotaux print. From "Chronique de Hollande." 

445 — The Professor Teaching. Hanotaux print. From "Mer des 

446 — A Judge. Hanotaux print. From "Sermons de S. Augustin" ; 

447 — Tombstone of Thomas de Courcelles and of His Brother. 

Hanotaux print. After Gaignieres. Bib. Nat. Cab. des 

448 — Jeanne d'Arc. Hanotaux print. Sketched by the clerk at the 
trial ; from Vallet de Viriville's "Recherches iconographiques 
sur Jeanne d'Arc, dite la Pucelle d'Orleans, 1855." 

449 — A Sybil. Hanotaux print. From "Heures a I'usage de Rom- 
me" ; by Ph. Pigouchet. 

450 — Celestial Court. Hanotaux print. From "Missale Virdunense" ; 
printed for Je'nan du Pre; 1481. 

451 — The Church Militant. Hanotaux print. From "Chronique de 

452 — Sitting in Judgment. Hanotaux print. From "Chroniques de 
France"; printed for Ant. Verard ; 1492. 

453 — Preacher in the Pulpit. Hanotaux print. From "Passio domini 
nostri Jesu Christi" ; Strasbourg; beginning of XVI. Century. 

454 — Fragment of a Plan of Rouen. Hanotaux print. From Bibl. 
Nat. Depot des cartes et plans. 


Statue in the Cluny Museum showing XVth Century Armor 

455 — Massacre of Peasants. Hanotaux print. From "Histoire de 
Sigismonde fille du Prince Tancrede" ; Strasbourg. 

456 — The Man-at-Arms. Hanotaux print. From "Chronique de Hol- 

457 — De Berneval, Architect of the Rose-window of St. Ouen in. 
Rouen. Flanotaux print. From a drawing preserved in the 
Bibl. Nat. des Estampes. 

458 — Battle between the Fleur-de-Hs and the Leopards. Hanotaux 
print. From "Ancienne Chronique de Brabant ; Anvers, R. 
Van den Dorp ; 1497. 

459 — A Knight. Hanotaux print. From "Chronique de Hollande." 

460 — St. Thomas Aquinas, and the Teaching of the Church. Hano- 
taux print. From "Commentaires sur Aristote" ; Venice, 1496. 

461 — Jean Gerson. Hanotaux print. From "De Imitatione Christi" ; 

462 — The Pope with the Cardinals and Bishops. Hanotaux print. 
Communication by M. Leclere. 

463 — Rome. Hanotaux print. From "Bergomensis Jacobus Philipus 
Supplementum chronicarum" ; 1492. 

464 — The Preaching. Hanotaux print. After "Caracciolo," 1495. 

465 — The Seed and the Balance. Hanotaux print. From "Heures a 
I'usage de Romme" ; 1498. 

466 — Holy Conversation. Hanotaux print. From "L'Explication de 
Pater noster ;" studio of Pierre Levet ; 1489. 

467 — Jean d'Arc Salutes the King at Chinon. Hanotaux print. 
From "\^igilles de Charles \"n." ; ed. J. Du Pre. 

468 — How King Henry was Crowned in Paris with two Crowns 
by the English. Hanotaux print. From "Vigilles de Charles 
Vn." ; ed. J. du Pre. 

469 — The King Making His Re-entry Into Paris. Hanotaux print. 
From "Grandes Chroniques de France" ; printed for Ant. 
\'erard ; 1492. 

470 — Rainbow Over a Troubled Sea. Hanotaux print. From 
"Chronique de Hollande." 


471 — Siege Laid to Ponthoise by the French. Hanotaux print. 
From "Vigilles de Charles VII." ; ed. J. du Pre. 

472 — Margaret of Anjou. Hanotaux print. From a stained-glass 
window ; Gaignieres Cab. des Estampes ; sketched by R. Favier. 

473 — A Doctor. Hanotaux print. From Sermons de S. Augustin. 

474 — Portrait of Guillaume d'Estouteville. Hanotaux print. From 
a picture in the archiepiscopal residence at Rouen ; sketched by 
R. Favier. 

475 — Tombstone of Guillaume Chartier, Archbishop of Paris. 

Hanotaux print. From Collection Gaignieres, Bibl. Nat. Cab. 
des Estampes. 

476 — Suppliant Woman. Hanotaux print. From "Heures a I'usage 
de Romme" ; printed for Jehan du Pre; 1488. 

477 — Jeanne d'Arc. Hanotaux print. From the miniature of the 
"Proces de Rehabilitation" ; Bib. Nat. ; sketched by R. Favier. 

478 — Prayer to the Virgin. Hanotaux print. From Kristeller's 
"Early Florentine Woodcuts" ; London ; 1897. 

479 — Jean Jouvenel des Ursins. Hanotaux print. After a picture 
in the Louvre, Paris. 

480 — Pontifical Arms. Hanotaux print. From the "Grand Pardon 
de Notre Dame de Reims" ; broadside printed in 1482 for 
Jehan du Pre. 

481 — Jeanne d'Arc and Charles VII. Kneeling Before a Pieta. 

Hanotaux print. Sketched by R. Favier after an engraving 
of Leonard Gaultier, representing the monument erected be- 
fore the XVI Century on the bridge of Orleans, in "Hordal 
Heroinas Jeanne d'Arc — Historia," 1612. 

482 — Jehanne la Pucelle. Hanotaux print. From a miniature of the 
"Champion des Dames" ; about 1450. 

483 — Jeanne d'Arc with a Crown. Hanotaux print. Published in 
Grassailles "Regalium Franciac libri duo"; Lyon; 1538. 

484 — Jeanne d'Arc. Hanotaux print. Portrait of Hotel de Ville of 
Rouen, probably executed toward the end of the XVI Cen- 
tury ; prototype of the "Pucelle au chaperon." 

485 — Joan of Arc in Armor. By F. V. Du Mond. 


By Princess Marie of Orleans, in the Versailles Museum 

486— Joan of Arc's Vision. By F. V. Du Mond. 
487 — Joan of Arc in the Forest. By F. V. Du Mond. 

488 — Joan of Arc Before the Governor at Vaucouleurs. By F. V 

Du Mond. 

489 — The Governor of Vaucouleurs Keeps His Promise to Joan of 
Arc. By F. V. Du Mond. 

490 — The Paladin's Appearance in Court. By F V. Du Mond. 

491 — Joan of Arc Reprimands the Conspirators. By F V. Du 


492 — Joan of Arc Discovers the Disguised King. By F. V. Du 


493 — Examination of Joan of Arc by the Council. By F. V. Du 


494 — Joan of Arc Chooses Her Standard-Bearer. By F. V. Du Mond. 

495 — Joan of Arc and La Hire. By F V. Du Mond. 

496 — Joan of Arc and the Dwarf. By F. V. Du Mond. 

497 — Joan of Arc's Entry into Orleans. By F. V. Du Mond. 

498 — Joan of Arc Surprises the Conspirators. By F. V Du Mond. 

499 — Capture of the Tourelles. By F. V Du Mond. 

500 — Joan of Arc Dictating Letters. By F. V Du Mond. 

501 — Siege of Orleans. From the painting by J. E. Lenepveu. 

502 — The Duchess Kisses Joan of Arc. By F. V. Du Mond. 

503— The Evening Meal. By F. \'. Du Mond. 

504 — Joan of Arc and Wounded Soldier. By F. V. Du Mond. 

505 — Coronation at Rheims. By F. V. Du Mond. 

506— Joan of Arc Drills Her Father. By F. V Du Mond. 

507— The Paladin Tells How He Won Patay. By F. V. Du Mond. 

508 — Capture of Joan of Arc at Compiegne. By F. V. Du Mond. 


509 — Joan of Arc. From portrait in Hotel de Ville at Rouen. 

510 — Rainguesson and DeConte Making their Way to Rouen. By 

F. V Du Mend. 

511— Trial of Joan of Arc. By F. V Du Mond. 

512 — Joan of Arc's Execution. By F. V. Du Mond. 

513 — Joan of Arc Signs the Accusation. By F. V. Du Mond. 

514 — Cauchon Accuses Joan of Arc of Violating Her Oath. By F. 

V. Du Mond. 

515 — Jacques d'Arc and Uncle Laxart Watching the Procession. 

By F V. Du Mond. 

516 — Embellishment Showing the Doorway of Joan of Arc's Home. 

By F V. Du Mond. 

517 — Joan of Arc, Maid of France. By Agnes A. Hilton. 

518 — Joan of Arc Praying. By Agnes A. Hilton. 

519 — Joan of Arc Bearing Her Standard. By Agnes A. Hilton. 

520 — Joan of Arc Entering Orleans. By Agnes A. Hilton. 

521 — Joan of Arc Succors a Soldier. By Agnes A. Hilton. 

522 — Coronation at Rheims. By Agnes A. Hilton. 

523 — Joan of Arc Fondling Children. By Agnes A. Hilton. 

524 — Joan of Arc Burned at the Stake. By Agnes A. Hilton. 

525 — Joan of Arc Rallying Her Men. By Agnes A. Hilton. 

526 — Joan of Arc in Prison. By Agnes A. Hilton. 

527 — Joan of Arc's Trial. By Agnes A. Hilton. 

528 — Joan of Arc's Capture. By Agnes A. Hilton. 

529 — Joan of Arc's Vision. By Gaston Bussiere. 

530 — ^Joan of Arc at Trial. By Gaston Bussiere. 

531 — Coronation of Charles VII. By Gaston Bussiere. 

532 — The Land Afar Off. By Gaston Bussiere. 


Equestrian Statue by Anna Y. Hyatt 

533 — For God, King and Country. From silver medallion b}' Broms- 
grove Guild of Artists. 

534 — She Can Neither Read Nor Write. From bronze medallion 
by the Bromsgrove Guild of Artists. 

535 — La Pucelle de Dieu. From bronze statuette by the Broms- 
grove Guild of Artists. 

636 — The Scene of Her Mission Inspires the Maid. From the 
painting by Gaston Bussiere. 

537 — Joan of Arc Places Armor on Ahar. From the painting by 
Gaston Bussiere. 

538 — Joan of Arc on Way to the Stake. From the painting by 
Gaston Bussiere. 

539 — Joan of Arc Yields Her Limbs, but Keeps Her Faith. From 
the painting by Gaston Bussiere. 

540 — Joan of Arc as a Child. By J. Jellicoe. 

541 — Joan of Arc at Play. By J. Jellicoe. 

542 — Joan of Arc Meets Charles VII. By J. Jellicoe. 

543 — Joan of Arc Entering Orleans. By J. Jellicoe. 

544 — Joan of Arc Wounded. By J. Jellicoe. 

545 — Captured at Compiegne. By J. Jellicoe. 

546 — Joan of Arc on Castle Roof. By J. Jellicoe. 

547 — Joan of Arc Faces Her Judges. By J. Jellicoe 

548 — Joan of Arc Bas-relief, by H. Gauquie, in the Cathedral at 
Rouen, showing her burned at the stake. 

549 — Bas-relief, by H. Gauquie, in the Cathedral at Rouen, showing 
her entrance into Orleans. 

550 — Reredos in the Chapel Joan of Arc in the Cathedral at Rouen. 

551 — Bas-relief, by H. Gauquie to the memory of Charles VII., in the 
Cathedral at Rouen. 

552 — Altar in the Chapel Joan of Arc, of the Cathedral at Rouen, 
designed by Messrs. Navone of Genoa and Gauquier of Paris. 


553 — Joan of Arc Statue, by Navone, in the Cathedral at Rouen. 

554 — Marble and bronze decoration, by Allar, in the Basilica of 
Domremy, depicting her listening to the "voices." 

555 — Bas-relief, by Vital-Dubray, of the statue in the Place du Mar- 
troi, at Orleans, depicting her burning at the stake at Rouen, 
May 30, 143 1. 

556 — Joan of Arc Bell, in Notre Dame Cathedral, Paris. 

557 — La Croix Pucelle, erected in the forest of St. Germain. 

558 — Joan of Arc Banner. Given to the Notre Dame Cathedral at 

559 — Lacework, showing Joan of Arc on horseback. 

560 — Joan of Arc Equestrian Statue, by Paul Dubois, erected before 
the Cathedral at Rheims. 

561 — Entrance to the Rheims Cathedral, showing the statue of Joan 
of Arc before it. 

562 — Tower of Joan of Arc, at Rouen, where she was confined. 

563 — Tablet at Rouen, indicating where Joan of Arc was burned at 
the stake. 

564 — Capture of Orleans, from the painting by Lenepveu. 

565 — The spot where Joan of Arc died, decorated with floral tokens. 

566 — Castle of Philippe- Augusta ; erected in 1204. 

567 — Joan of Arc in Prison. 

568 — Monument to Joan of Arc, before the Church de Bon-Secours 
at Rouen. 

jSg — State of Joan of Arc in the monument group before Bon-Secours 

570 — The Joan of Arc Monument before the Church of Bon-Secours, 


Statue by Bourgouin, Paris 

571 — Church at Domremy, erected in honor of Joan of Arc. 

572 — Bas-relief, designed by Vital-Dubray as part of the imposing 
statue erected in the Place du Martroi, at Orleans, depicting 
St. Catherine and St. Marguerite announcing to Joan of Arc 
that St. Michael will govern her life. 

573 — Joan of Arc Statue. Engraving by Pigeot. 

574 — Isabella of Bavaria, entering Paris to become Queen of France 
as wife of Charles VI. 

575 — Joan of Arc Statue. Engraving" by George Cooke, and pub- 
lished by A^ernor, Hood & Sharpe ; Poultry, 1807. 

576 — Joan of Arc Statue, at Rouen. Engraving by H. Heath. 

577 — Isabella of Bavaria, who became wife of King Charles VI., of 

578 — Joan of Arc Statue. Engraving by Gervais from a drawing by 
A. Deveria. 

579 — Joan of Arc Window, executed by F. Gaudin ; drawn by E. 

580 — Joan of Arc. Engraving by E. Hargrave ; printed in Court 
Magazine, 1840. 

581 — Cathedral at Orleans. 

582 — Church of Notre Dame, at Poitiers. Engraved by W. Wallis; 
drawn by T. Allom. 

583 — Joan of Arc in Prison. Engraving. 

584 — Joan of Arc. Symbolical picture, 1910 anniversary, at Rouen. 

585 — King Henry VI., of England. 

586 — Young woman costumed in armor such as worn by Joan of 

587 — Joan of Arc Statue. New model by Allouard, shown in his 
studio, in Paris. 


588— Armor of about 1400, owned by the Metropolitan Museum of 
Art in the City of New York. This basinet appears to have 
hung above the main altar of the Church of St. Pierre du 
Martroi, at Orleans, and to have passed as the casque of Joan 
of Arc. It is related in the record of her life that she placed 
her armor on the altar, when discouraged, and left it there. 
This specimen is evidently, ex voto, of French workmanship, 
and of the time of Joan of Arc ; but there is no documentary 
evidence showing to whom it belonged. Photograph. 

589 — Armor of XV Century ; French. Side view of last. Photo- 
graph of an exhibit at the Metropolitan Museum of Art, New 
York City. 

590 — Armor of XV Century; German. Used in riding on horseback. 
Photograph of an exhibit at the Metropolitan Museum of Art, 
New York City. 

591 — Armor of XV Century; French. With headpiece for horse. 
Photograph of an exhibit at the Metropolitan Museum of Art, 
New York City. 

592 — Armor of XV Century; French. Photograph of an exhibit at 
the Metropolitan Museum of Art, New York City. 

593 — Mme. Sarah Bernhardt as Joan of Arc Reading Her Testament. 
Photograph by Henri Manuel ; Paris. 

594 — Joan of Arc Wounded, represented by Mme. Sarah Bernhardt. 
Photograph by Henri Manuel; Paris. 

595 — Mme. Sarah Bernhardt, representing Joan of Arc reading her 
Testament. Photograph by Plenri Manuel ; Paris. 

5g6 — Joan of Arc in Her Dungeon Cell, represented by Mme. Sarali 
Bernhardt. Photograph by Henri Manuel; Paris. 

597 — Joan of Arc in Her Home at Domremy, represented by Mme. 
Sarah Bernhardt. Photograph by Nadar; Paris. 

jgS — Joan of Arc with Her Flock. Worked in silk; after the picture 
by F. Lematte. 

jgg — Joan of Arc in Prayer. Worked in silk. 



6oo — Joan of Arc on Horseback. The Paul Dubois statue in black 
and white. Silhouette by Gustavus Walle, New York City. 

60 r — Joan of Arc. Engraving from original owned by the Chevalier 

602 — Joan of Arc. Galvans, by Giovanni Cariati. 

603 — Joan of Arc. Design for medal by Giovanni Cariati. 

604 — Joan of Arc. Design for statue by Giovanni Cariati. 

605 — Joan of Arc. Drawing by Giovanni Cariati. 

606 — Joan of Arc. Drawing by Giovanni Cariati. 

607 — Joan of Arc, the Liberator. Fete poster issued at Paris for 
public information by the Placard and Pamphlet Committee; 
published by MouUot, Paris. 

608 — Joan of Arc Decorative Shield. Fete poster issued at Paris, 
May 19, 1912 ; published by Vercasson, Rue Martel, Paris. 

6og — Joan of Arc. Bust of the statue by Mercie. 

610 — Joan of Arc. Full length statue by Mercie. 

611 — Joan of Arc Makes a Sortie from the Gates of Orleans. En- 
graving by C. W. Wass, 185 1 ; after the painting by W. Etty, 
R. A. Loaned by R. Fridenberg; New York City. 

612 — Joan of Arc's Inspiration. Engraving by Sidney L. Smith, 
after the painting in the Metropolitan Museum, New York 
City, by Bastien Lepage. 

613 — Joan of Arc Leading Her Army to Orleans. Oil painting by 
Boutet de Monvel ; 8 ft. 6 in. long ; 4 ft. 6 in. high. Loaned 
by U. S. Senator William A. Clark, New York City. 



614 — Stone (about 50 lbs.) taken from the dungeon of the stronghold at 
Rouen, France, in which Joan of Arc was held in chains, starved, 
abused and tortiored. Secured by M. Jean de Beaurepaire of 
Rouen who possesses a large collection of Joan of Arc material, 
and sent by him to Dr. George F. Kunz, of New York, President 
of the Joan of Arc Memorial Fund Committee. 

615 — Mug, painted by Raymond Perry, a feature of the Salmagundi 
Club's annual banquet, held in December, 191 2. Loaned by 
J. Sanford Saltus, Esq. 

616 — Joan of Arc Dinner-plate. Loaned by Mrs. Cuyler Reynolds, 
Albany, N. Y. 

617 — Joan of Arc Dinner-plate. Loaned by Mrs. Cuyler Reynolds, 
Albany, N. Y. 

618 — Joan of Arc Dinner-plate. Loaned by Mrs. Cuyler Reynolds, 
Albany, N. Y. 

619 — Shield, of the design used by Joan of Arc. 

620 — Signature of Joan of Arc, magnified and photographed. Not 
more than three signatures are known to exist. Enlarged by 
Drummond, New York City. 

621 — Stamps used during the festival at Orleans in 19 12, in honor of 
Joan of Arc, showing her on horseback. 

622 — Stamp bearing likeness of Joan of Arc. 

623 — Silk Ribbon worn in the Joan of Arc fete of 19 12 at Orleans, France, 

624 — Special pamphlet: "Blessed Jearme d'Arc, Maid of Orleans." 
Paper, frontispiece, 14 pp. Published by AUday, Birmingham, 
Eng., 1909. 

625 — Letter of M. Jusserand, Ambassador of France to the United 

States, expressing an estimate of the character of Joan of Arc 
to Dr. George F. Kunz, as President of the Joan of Arc Memorial 
Fund Committee. Dated French Embassy, Washington, D. C, 
Dec. 18, 1912. 

626 — Letter of Giovaimi Cariati, the well-known Italian sculptor now 
in this country, offering to loan exhibits, written to the president 
of the committee, Dec. 12, 191 2. 



















627 — Letter of M. Jean de Beaurepaire, of Rouen, France, to Dr. George 
F. Kunz, regarding the stone taken from the tower of the prison 
in which Joan of Arc was confined at Rouen. Written July 5, 

628 — Letter of M. Jean de Beaurepaire, of Rouen, France, to Dr. George 
F. Kunz, regarding present condition of the site of the prison 
where Joan of Arc was held. Written May 12, 1912. 

629 — Poem, in chirography of Percy Mackaye, entitled "By the Ladies' 
Tree," from his play "Jeanne d'Arc," written at Corinth, N. H., 

630 — Letter, from the Secretary-General of the "Souvenir Frangais," 
(a French organization founded in igo6, for the purpose of 
studying the lives of soldiers and sailors who died for their 
country and erecting monuments thereto). Written in appre- 
ciation of advice that a monument was proposed to Joan of Arc 
in this country. Dated, Paris, Dec. 9, 1912. 

631 — Letter of J. Sanford Saltus, Esq., advocating a National pageant 
throughout France on the annual birthday of Joan of Arc. 
Written Jan. 2, 191 1. 

632 — Letter of P. B. de Crevecoeur, Librarian and Secretary of Fraser 
Institute (Free Public Library), Montreal, Canada, Dec. 18, 
1912, regarding the Joan of Arc statue designed by A. Vermare, 
and erected in Montreal, Oct. 6, 1912, through efforts of the 
Union Nationale Frangaise. 

633 — Music: "A Jeanne d'Arc;" song words by J. Trebor; music by 
R. P. Ligonnet. Published by E. Coutarel, Paris. 

634 — Music: "Cantate a Jeanne d'Arc;" words by M. I'Abbe Degron. 
Published by E. Ploix, Paris. 

635 — Music : "Jeanne d'Arc; " drama in five acts and in verse by Jules 
Barbier; music by Charles Gounod. Published by Choudens 
Sons, Paris. 

636 — Music: "Marche Lorraine;" words by Jules Jouy and Octave 
Pradels; music by Louis Ganne. Published by Enoch & Co., 

637 — Program, admission card, pictures and printed reviews on the 
Maude Adams production of Schiller's "Joan of Arc" in the 
Harvard Stadium, June 22, 1909, for the benefit of the Germanic 
Museum. Loaned by Prof. Horatio S. White, of Cambridge, 


638 — Souvenir of the Shakespeare Memorial National Theatre Ball, 

in Royal Albert Hall, London, Eng., June 20, 1911, in costume, 
showing the Countess of Lytton as Joan of Arc. Loaned by 
J. Sanford Saltus. 

639 — "The Century Magazine" series of 1897 containing "The Days of 
Jeanne d'Arc," by Mary Hartwell Catherwood, illustrated by 
Boutet de Monvel. 

640 — E. H. Southern and Julia Marlowe in "Joan of Arc," as acted by 
them at the Waldorf in New York and in London, season of 
1906-07. Loaned by Percy Mackaye. 

641 — Book Poster for Percy Mackaye's "Jeanne d'Arc. Loaned by 
Percy Mackaye by request. 

642 — Poster used for the Maude Adams production of Joan of Arc at 
the Harvard Stadium, June 22, 1909. Loaned by Charles Froh- 
man, Esq. 


Equestrian statuette, i3K"x 4/^"; 
" " " i3>^"x aY," 

" " " ii>^"x s" 

" " " 27>^"x iiK' 

Statuette 12^" diam. 

Bust, Marble Base. . . 4>^"x 4}4" 

Statuette 10" diam. 

" 8K"x 6}4" 

" 8" X 8" 

" 10" X 6" 

" 9" X 9" 

" 8"x 8" 

" aH" diam. 

" I'A" " 

" id"x 12" 













P. d'Epinay. 
P. Dubois. 




Henri Chapu. 
C. de Franoz. 




Math. Moreau. 




H. Allouard. 




















E. Barrias. 




Alfred Boucher 





Loaned by J. Sanford Saltus 



I— Bust of Napoleon facing right. NAPOLEON BONAPARTE 
DUPRE SCULP. Bronze, 55 mm. Struck to commemorate 
the re-erection of the statue at Orleans in 1803. The original 
statue having been destroyed during the French revolution. 

2— Bust in armor to left. JEANNE D'ARC. Reverse, Inscrip- 
tion in eight lines, NEF, A DONREMY, EN M.CCCC.XI., 
Gold, 41 mm. 

3 — Same, Silver. 

4 — Same, Bronze. 

5 — Half length, facing right, tied to stake, flames below, MA. MIS- 
SION. ETAIT DE DIEV. Reverse, full length, facing right, 
sheep to left, angel above, bench and growing lilies in back- 
ground, city in the distance. VA FILLE AV GRAND 
COEUR. By C. Roty (i8g6). Silver, 45 mm. 

6 — Same, Bronze. 

7 — Same, Gold, 29 mm. 

8 — Same, Silver. 

9 — Same, Silver, 23 mm., with ring for suspension 

10 — Same, Gold, 21 mm. 


II — Same, Silver. 

12 — Same, Silver, 15 mm. 

13 — Full length facing left, trees, angel and sheep in backgroimd, by 
Dandel-Dupius. Galvano silvered, plaquette, 63x101 mm. 

14 — Obverse the same. Reverse branch of lilies and buds. In- 
scription in five Unes JEANNE D'ARC LIBERATRICE 
DU TERRITOIRE. Silver, 41x67 mm. 

15 — Same, Bronze. 

16 — Full length facing left, in forest, two sheep to left, three angels 
in background. Reverse, Banner on lance, shield with arms, 
MAI 1909, by Rene Baudichon. Bronze, 51 mm. 

17— Bust in armor to left. JEANNE D'ARC 1412-1431. Re- 
verse full length, kneeling, facing right, receiving sword and 
shield from two angels. By C. Yencesse. Silver, 27 mm., 
with ring. 

18 — Same, Bronze. 

19 — Same, Silver, 22 mm. 

20 — Same, Bronze. 

21 — Same, Silver, 18 mm. 

22 — Same, Bronze. 

23 — Full length, kneeling, full face, sheep, flowers, tree and house in 
background, above on scroll JEANNE D'ARC ECCVTANT 
1412-1431. Bronze, 33 mm., with ring. 

24 — Figure and inscription as on No. 23, above three angels with 
sword, banner and helmet. Reverse as No. 23. Bronze, 33 
mm., with ring. 

25 — Full length in armor, banner in right hand, left hand resting on 
alter, helmet and shield on the ground, VIVE LABEUR 
JEHANNE D'ARC on scroll above. Reverse as No. 23. Silver, 
33 mm., with ring. 

26 — Same, Bronze. 


27 — Same, Silver, 26 mm. 

28 — Same, Bronze. 

29 — Same, Silver, 20 mm. 

30 — Same, Bronze. 

31 — Half length, with hands clasped, facing right, tree and city in 
backgrotmd. Reverse, armorial shield, sword and banner. 
By F. Rasiunny. Silver, 25 mm., with ring. 

32-^Same, Bronze. 

33 — Same, Silver, 21 mm. 

34 — Same, Bronze. 

35 — Same, Gold, 19 mm. 

36 — Same, Silver. 

37 — Same, Bronze. 

38 — Same, Silver, 18 mm. 

39 — Same, Bronze. 

40— Full face, in armor. Halo of gilt. lEHANNE DE PAR LEROY 
DV. CIEL SA\'\'E LA FRANCE. Reverse, full length on 
horseback above K. Crowned. QVANT IE FV FAIT SANS 
QVI EST FORT LIEV: Silver, 28 mm pierced, with ring. 

41 — Same, 23 mm. 

42 — Same, 19 mm. 

43 — Same, 15 mm. 

44 — Same, 11 mm. 

45 — Same, 9 mm. 

46 — Full length on horseback; to left, with banner, AVANT LA 
BATAILLE. Reverse, in eight lines, A LA GLOIRE IM- 
QAISE. Palm and liUes below. By F. Mouchon. Bronze, 
51 mm. 


47— Full length on horseback to left, with banner. Reverse, Arms. 
Inscription in five lines: et fust "par la grant pitie qm estoit 
au Roiaume de France." By F. Fremiet. Silver, 50 mm. 

48 — Same, Bronze. 

49 — Same, Gold, 28 mm., with ring. 

50 — Same, Silver. 

51 — Same, Bronze, without ring. 

52 — Same, Silver, 22 mm., with ring. 

53 — Same, Bronze, without ring. 

54 — Same, Silver, 18 mm., without inscription on reverse, with ring. 

55 — Same, Bronze, without ring. 

56 — Same, with armorial shield above horses head. Silver, 36 mm., 
with ring. 

57 — Same, Bronze, without ring. 

58— Full length on horseback- to left, with banner BSE JEANNE 
D'ARC B. P. N., below arms, 1412 to left, 143 1 to right. Re- 
verse. Sword, banner and palm branch, above, 1412, 1431. 
Silver, 24 mm. with ring. 

59 — Same, Bronze. 

60 — Same, Silver 20 mm. 

61 — Same, Bronze. 

62 — Same, Silver, 18 mmi. 

63 — Same, Bronze. 

64 — Same, Silver, 16 mm. 

65 — Same, Bronze. 

66 — Same, Silver, 14 mm. 

67 — Same, Bronze. 

68 — Same, Silver, 12 mm. 

69 — Same, Reverse, blank, 10 mm. 


70— Bust in armor, nearly full face, BEATA JOHANNA D'ARC. 
Reverse, Armorial shield and Mies. By F. Vernon. Silver 
27 mm. with ring. 

71 — Same, 23 mm. 

72 — Same, 19 mm. 

73 — Same, 15 mm. 

74 — Same, 11 mm. 

7S — Same, 8 mm. 

76— Bust in armor and helmet, nearly full face. JEHANNE D'ARC, 
141 2-143 1. Reverse, Armorial shield, sword and banner (same 
as No. 31). By F. Rasumny. Silver, 25 mm. with ring. 

77 — Same, Bronze. 

78 — Same, Silver, 21 mm. 

79 — Same, Bronze. 

80 — Same, Silver, 19 mm. 

81 — Same, Bronze. 

82 — Same, Silver, 16 mm. 

83 — Same, Bronze. 

84 — Full length in armor, sword in right hand, banner in left. JEANNE 
LIBERATRICE DE LA FRANCE. Reverse as last. By 
F. Rasumny. Silver, 25 mm. with ring. 

85 — Same, Bronze. 

86 — Same, Silver, 21 mm. 

87 — Same, Bronze. 

88 — Same, Silver, 19 mm. 

89 — Same, Bronze. 

90 — Same, Silver, 16 mm. 

91 — Same, Bronze. 

92— Laureated bust in armor to right, BIENHEUREUSE JEANNE 
D'ARC. Reverse, Armorial shield and liHes, DE BAR LE 
, ROI DV CIEL, above 141 2-143 1, below 1909, by Emile Dropsy. 
Gold, two colors on obverse, 34 mm. with ring. 


93 — Same, Silver. 

94 — Same, Bronze. ^'■' 

95 — Same, Silver, 26 mm. 

96 — Same, Bronze. 

97 — Same, Gold, two colors on obverse, 20 mm. 

98 — Same, Silver. 

99 — Same, Bronze. 

100 — Same, Silver, 16 mm. 

loi — Same, Bronze. 

102 — Same, Silver, 11 mm. 

103 — Same, Bronze. 

104— Same bust, JEHANNE D'ARC VIVE LABEVR. Reverse as 
last, 26 mm. 

105— Same bust, DE PAR LE ROI DV CIEL. Reverse, Arms. Ir- 
regular edge. Silver, with gilt field on obverse, 23 mm. pierced, 
with ring. 

106 — Same, Bronze. 

107 — Same, Silver, with gilt field on obverse, 18 mm. 

108 — Sarae, Bronze. 

109 — Same, Gold, two colors on obverse, 13 mm. 

no — Same, Silver, gilt field on obverse. 

Ill — Same, Bronze. 

112 — Bust in armor to left, to right, arms, in each upper comer a branch 
of laurel, below, et fust "par la grant pitie qui estoit au Roiaume 
de France." By Emile Dropsy. Galvano plaquette, silvered 
with gilt halo around head, 85x1 10 mm. 

113 — Same, 52x66 mm. 

114— Same, with DE PAR LE ROI DV CIEL in five lines to left of bust, 
below JEANNE D'ARC. 42x54 mm. 



115 — Same, bust to left, branch bearing leaves and a lily, to right RSE 
JEANNE D'ARC. Reverse, blank. Silver, 50 mm. with ring. 

116 — Same, Bronze. 

117 — Obverse, same. Reverse same as No. 92. Silver, 34 mm. with 

118 — Same, Bronze. 

119 — Same, Silver, 26 mm. 

120 — Same, Bronze. 

121 — Same, Silver, 20 mm. 

122 — Same, Bronze. 

123 — Same, Silver, 16 mm. 

124 — Same, Bronze. 

125 — Same, Silver, 11 mm. 

126 — Same, Bronze. 

127 — Same, bust. JEHANNE D'ARC. Reverse as last, but without 
the three dates. Irregular edge. Silver ,with gilt field on 
obverse. 30 mm. pierced, wirh ring. 

128 — Same, Bronze. 

129 — Same, Gold, two colors on obverse, 23 mm. 

130 — Same, Silver with gilt field on obverse. 

131 — Same, Bronze. 

132 — Bust in armor to left, on scroll above, JEANNE D'ARC. Reverse, 
Armorial shield, banner and branch of laurel. By Emile Dropsy. 
Silver, 3 1 mm. with ring. 

133 — Same, Bronze. 

134 — Same, Gold 26 mm. 

135 — Same, Silver. 

136 — Same, Bronze. 

137 — Same, Silver, 23 mm. 


138 — Same, Bronze. 

139 — Same, Gold, 20 mm. 

140 — Same, Silver. 

141 — Same, Bronze. 

142 — Same, Silver, 16 mm. 

143 — Same, Bronze. 

144 — Same, Silver, 11 mm. 

145 — Same, Bronze. 

146— Bust in armor to left. B. JEHANNE D'ARC B. P. N. Reverse, 
Armorial shield on laurel wreath JESVS MARIA 1412-1431. 
Silver, 23 mm., with ring. 

147 — Same, Bronze. 

148 — Same, Silver, 21 mm. 

149 — Same, Bronze. 

150 — Same, Silver, 19 mm. 

151 — Same, Bronze. 

152 — Same, Silver, 15 mm. 

153 — Same, 12 mm. 

154 — Same, obverse. Reverse, sword, banner and palm branch, above 
1412-1431. Silver, 17 mm., with ring. 

155 — Same, Bronze. 

156 — Same, 15 mm. 

157 — Same, Silver, 9 mm. 

158 — Bust in Court dress to left. Reverse, Arms. Inscription in five 
lines: et fust "par le grant pitie qui estoit au Roiaume de 
France." Silver, 32 mm., with ring. 

159 — Same, Bronze, without ring. 

160 — Same, Silver, 28 mm., with ring. 


i6i — Same, Bronze, without ring. 

162 — Same, Silver, 22 mm., with ring. 

163 — Same, Bronze, without ring. 

164 — Same, without inscription on reverse, Silver, 18 mm., with ring. 

165 — Same, Bronze, without ring. 

166 — Same, Silver, 16 mm., with ring. 

167 — Same, Bronze, without ring. 

168 — Same, obverse. Reverse, Fleur de lis. Silver 13 mm., with ring. 

169 — Same, Bronze, without ring. 

170— Laureated bust in armor to left Bse JEANNE D 'ARC P. P. N. 
Reverse, sword, banner and palm branch, above 1412-1431. 
Silver, 24 mm., with ring. 

171 — Same, Bronze. 

172 — Same, Silver, 21 mm. 

173 — Same, Bronze. 

174 — Same, Silver, 18 mm. 

175 — Same, Bronze. 

176 — Same, Silver, 16 ram. 

177 — Same, Bronze. 

178 — Same, Silver, 14 mm. 

179 — Same, Bronze. 

180 — Same, Silver, 12 mm. 

181 — Same, 10 mm. 

182 — Bust in armor to right. Fleur de lis on each side, above JEHAN- 
NE. Reverse, arms and banner inscribed DOMREMY, 1419. 
Bronze, 33 mm. 

183— Bust in armor to right. BIENHEUREUSE JEANNE D 'ARC 
TRIEZ POUR ROUS. Reverse, Cloud hiding sun, above 
JHESUS MARIA. By F. Magdelaine. Silver, 27 mm., with 


184 — Bust in armor to right. Reverse branch of lihes. Silver, 28 mm., 
with ring. 

185 — Same, Bronze. 

186 — vSame, Silver, 20 mm. 

187 — Same, Bronze. 

188 — Same, Silver, 18 mm. 

189 — Same, Bronze. 

190 — Same, Silver, 16 mm. 

191 — Same, Bronze. 

192 — Laureated bust in armor to left, ornamented field. Reverse 
wreath. By L. Tricard. Gold, 27 mm., with ring. 

193 — Same, Silver. 

194 — Same, Bronze. 

195 — Sarae, Silver, 20 mm. 

196 — Same, Bronze. 

197 — Bust in armor and helmet to left Bsc JEANNE D 'ARC. Reverse, 
rose and ivy leaves. By Becker. Silver, gilt, 28 mm., with ring. 

198 — Obverse same. Reverse, scroll and lilies. Gold, 23 mm., with 

199 — Same, Silver gilt. 

200 — Same, 18 mm. 

201 — Same, 16 mm. 

202 — Same, 13 mm. 

203 — Same, 11 mm. 

204 — Bust as last. JEANNE above. Reverse same as No. 197. 
Silver gilt. Oval 24x28 mm., with ring. 

205 — Obverse same. Reverse same as No. 198. Silver gilt. Oval 
20x23 mm., with ring. 

206 — Same, 15x18 mm. 

207 — Same, 14x16 mm. 



2o8 — Half length in armor, facing slightly to left. Banner in left hand, 
Arms in field to left. Reverse, Helmet and crossed swords, 
below in two lines Bsii JEANNE D'ARC 1412-1431. By F. 
Cain. Silver, 26 mm., with ring. 

209 — Same, Bronze. 

210 — Same, Silver, 23 mm. 

211 — Same, Bronze. 

212 — Same, Silver, 20 mm. 

213 — Same, Bronze. 

214 — Same, Silver, 18 mm. 

215 — Same, Bronze. 

216 — Three quarter length in armor, facing slightly to right, banner in 
right hand, left hand resting on altar. Reverse, Palm branch 
to left, sword to right, three fleur de lis between, above, in two 
POUR NOUS. By Tairac. Silver. Irregular shape, 27x30 
mm., with ring. 

217 — Same, Bronze. 

218 — Same, Silver, 24x27 mm. 

219 — Same, Bronze. 

22\') — Same, Silver, 22x24 nam. 

22J — Same, Bronze. 

222 — Same, Silver, 19x21 mm. 

223 — Sarae, Bronze. 

224 — Same, Silver, 16x18 mm. 

225 — Same, Bronze. 

226 — Same, Silver, 13x15 mm. 

227 — Same, Bronze. 

228 — Three-quarter length in armor, facing slightly to left, in right and, 
banner inscribed JHESUS MARIA. By Giovanni Cariati 
Plaquette, Galvano, gilt, 48x72 mm. (Loaned by Signor 



Charles VI — 1380-1422. 
229 — Gros Florette, Silver. 

Charles VI — 142 2-1468 
230 — Gros de Roi, Silver. 
231 — Grand Blanc, Silver (two specimens). 
232 — Blanc, Silver. 

Henry VI op England — 1422-1461. 

233 — Statue, Gold (two specimens). Struck in France during the 
English occupation. 

234 — Grot, Silver. Struck at Calais. 





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d. sci. hist, et naturelles de I'Yonne. Bull. v. 65, ser. 4. 15: 229-297. 

Parton, J. "Trial of Joan of Arc." Harper. 63:91-109. June, 

Patchett, E. W. "Jeanne d'Arc in History and Fiction." McGill 
University Magazine. 10: 504-24. Oct., 1911. 

Perot, F. "Un document siir Jeanne d'Arc." Soc. archeol. et 
hist, de rOrleans. Bull. 12:231-2. 1899. 

Petit de Julleville, Louis. "Joan of Arc." Review of Athen^um. 
1:812. June 29, 1901. 

Pfeiffer, Fr. "Ztu- Geschichte der Jungfrau von Orleans." Sera- 
pevim. 8 Jahrgang. pp. 351-59- 1847. 


"Pictures of Jeanne d'Arc, by Modern Artists." lUus'd. Windsor 
Magazine. 27:211-29. Jan., 1908. 

Pommier, A. "Note sur une miniature du XVe siecle, representant 
Jeanne d'Arc k cheval." pi. See. archeol. et hist. d. I'Orleanais 
Bull. 14:305-10. 1906. 

Pontalis, G. L. "Sources allemandes de rhistoire de Joan of Arc." 
Anthena2um. 2:279. Aug. 29, 1903. 

Porterfield, A. W. "New Tellers of a Tale Outworn." Dial. 50: 
306-8. April 16, 191 1. 

"Production of Joan of Arc at Harvard Stadium." Collier's 
Weekly. 43:20-1. July 10, 1909. 

Prutz, Hans. "Die falsche Jungfrau von Orleans, 1436-57." 
Koniglich bayerische Akademie der Wissenschaften. Philosophisch- 
philologische und historiche Klasse. Sitzungsberichte. Jahrg. 191 1. 
Abhandlung. 10. 

Raymond, M. "House of Joan of Arc." Catholic World. 21: 
697-700. Aug., 1875. 

Roberts, T. "Maid"; poem. Canadian Magazine. 33:179. June, 
1909. Current Literature, 46:686-7. June, 1909. 

Rogers, R. V. "Joan of Arc and Bluebeard." Green Bag, 9:397, 

"Saint Joan of Arc." Independent, 66:928—9, April 29, 1909. 

Scott, Mary Monica. "Life of Joan of Arc." Nineteenth Century, 
54:428-41, 613-28. September and October, 1903. 

Sepet, Marius. "Le journal d' Antonio Morosini et sa contribution 
a rhistoire de Jeanne d'Arc." Revue des quest, hist., 72 :249-59, 1902. 

Shinnors, M. F. "Joan of Arc." Irish ecclesiastical rec, ser. 4, 
v. 16: 142-157, 1904. 

Sikora, Adalbert. "Die Jungfrau von Orleans im tirolischen Volks- 
schanspiel. Ein Beitrag zur vergleichenden Literaturgeschichte." 
Studien z. vergleichenden Literatur geschichte, 6 :4oi-8, 1906. 

Simcox, G. A. "Joan of Arc" ; poem. Comhill Magazine 16 :s84-8. 
November, 1867. 

"Spectator's Account of Maude Adams' Performance at Harvard." 
Outlook, 92:590-2. July 10, 1909. 


Stanhope (5th earl), Philip Henry Stanhope. "Joan of Arc." Quar- 
terly Review, 69:281-329. March, 1842. 

Stephens, W. "Joan of Arc, Anatole France and Andrew Lang." 
Contemporary Review, 95:330-7. March, 1909. 

Terry, B. S. "Lowell on Joan of Arc." American Historical Re- 
view. 2:131-4. Oct., 1896. 

" Texte de la reponse d'un clerc parisien a I'apologie de Jeanne d'Arc 
par Gerson." See. archeol. et hist. d. I'Orleanais. Bull. 14. (1907, 
trim. 0:525-530. 1907. 

Thomas, Antoine. "Le 'signe royal' et le secret de Jeanne d'Arc." 
Revue hist. 103:278-82. 1910. 

Thompson, J. W. "Recent Book on Joan of Arc." Dial. 20:351-7. 
June 16, 1896. 

Thurston, Herbert. "Blessed Joan of Arc in English Opinion." 
Month. 113 :449-64. 1909. 

TonnelUer, T. "Anatole France and Jearme d'Arc." Bookman, 
27:192-4. April, 1908. 

Touchet, Stanislas. "Jeanne d'Arc." Correspondant, 235 (n. s. r. 
199): 3-35- 1909- 

Trollope, A. "Parr's Life of Joan of Arc." Fortnightly Review, 
6:632-6. Oct. 15, 1866. 

Twain, Mark. "Personal Recollections of Joan of Arc." Harper, 
90:485, 680; 91:227-879; 92:135-655. April, 1895-April, 1896. 

Twain, Mark. "Saint Joan of Arc." lUus'd. Harper, 110:2-12, 
Dec, 1904. 

Vismara, Mme. Uve L. "Jeanne d'Arc." L R. accad. di sci. lettres 
ed arti degli Agiati in Roveueto, Atti., ser. 3, v. 15 : 167-197. 1909. 

Welty, F. "Joan Beatified"; poem. Independent, 66:918. 
April 29, 1909, 

"What Joan of Arc Accomplished." Living Age, 261:563-5. 
May 29, 1909. 

Wyndham, F. M. "Maid of Orleans by the Light of Original 
Documents." Dublin Review, 108:54-72. 1891. 


"Le Souvenir Francais, igii." Describing Statues of Commemo- 
ration in France. (Joan of Arc.) pp. 12 and 77, etc. 

"Heroines Every Child Should Know.'' Edited by Hamilton W. 
Mabie and Kate Stephens. With one author's inscription, pp. vii-xiv 
and 3-281. Doubleday, Page & Company, 1909, New York. 

Babre. "Process de Jeanne d' Arc." 1913- 

Brentano, Frank. "Jeanne d'Arc." 19 13. 

Kenny, Richard J., S. J. "Joan of Arc." America. Vol. i, No. i, 
pp. 6-8. April 17, 1909. 

Thurston, Herbert, S.J. " Shakespeare and Blessed Jeanne D'Arc. ' ' 
America. Vol. i, No. 3, pp. 64-67. (Part I). May i, 1909. 

Thurston, Herbert, S. J. "Shakespeare and Blessed Jeanne D'Arc." 
America. Vol. i, No. 4, pp. 91-93. (Part H). May 8, 1909. 

McClorey, J. A., S. J. "Joan, The Child of Nature." America. 
Vol. VII, No. 8, pp. 176-177. June i, 1912. 

McClorey, J. A., S. J. "Joan, The Mystic." America. Vol. VII, 
No. 9. June 8, 1912. 

"Jeanne d'Arc in New York." America. (Editorial.) January 18, 

Thurston, Herbert, S. J. " Joan of Arc." Catholic Encyclopoedia. 
Vol. VIII. 

Play Bill, Joan of Arc, a drama by Frances Aymar A'lathews. Played 
by Fanner Davenport at the Fifth Avenue Theatre for the week beginning 
January3i, 1898. 

Loaned by Miss Frances Aymar Mathews. 

Boutet de Monvel, Artist. Original Manuscript. " Panegyric of 
Joan of Arc," especially written for the Joan of Arc Statue Committee. 
Paris, France, January 3, 19 13. 

Piece of old printed chintz, 25x30 inches, showing six scenes from 
the life of Joan of Arc. (In gilt frame.) Loaned by Miss Frances A.